^TilSDNVSOl^       %a3AINfl-3\\V*         '^.^OJIWDJO'^      "^AOJI 


^^WEUNIVER%       ^lOSANCElfj> 


^ 


<rji]0Nvsoi^     "^ajMNn-iuv       "^^Aavaaiv^^      ^o\h\ 


^X3 


Mi 


** 


.^WE•UNIVER5•/A 


^MEUNIVER% 


^cyAavaairiv^' 


f 


'^•^nm 


"^•^mt 


xWEUNIVER%       ^lOSANCElfX;> 


zK  Q  ^  r  ft  Q...„...  s     ^ 


.^HIBRARYQ^ 


-^HIB 


^^OJITVD-JO'^      %)J1 


aWEUNIVER5'/a 


:^ 


'^sm^ 


A-OFG 


S'Aav}i8n#'      ^^xav 


c?  -t 


^^WEUNIVER%      >^ios-, 


l,23\ 


^rilJONVSOl^"^       %a3AINn3l\V^  '^<yOdllV>JO^        '%OJI1V3-J0 


^^WEUNIVER^/^      ^V^OSANCEl% 


<rii33NVS0i^      "^AadMNn-^vw 


^.OFCALIFOft^       ^.QFCALIFOff^ 

o      s^ 


-^llIBRARYQ^ 


^IIIBRARYQ^ 


AWEUNIVERy/A 


^VlOSANCElfj 

O 


%ojnv3Jo'^    %ojnv3-jo^      ^XiijoNVSoi^ 


^OFCAllFO% 


C-1 


^OFCAIIFO% 


,^WEUNIVER5/A 


<ri]3DNVS01^ 


.^WSANCElfj 

o 


aweuniver% 


o 


^lOSANCElfj'^ 
o 


^HiBRARYQc. 


<^1-IIBRARY<3 


%a3AINn-3WV^         "^^OJITVDJO^ 


%ojnvDJo" 


.^WEUNIVERi/A 

<: 


'^J'ilJDNVSm^ 


^lOSANCElfX;. 

o 


^0FCAIIF0% 


.^.OF-CAIIFO;?^ 


'^/sa3AiNii-3iv^      '^(^Aavaani^ 


^^AHViiani^ 


^HIBRARY(9/r.       -^^HIBRARYO?,         «AMEUNIVER%       ^lOSANCElfj 


THE  SCHOOL 
PRINT  SHOP 


By 

KATHARINE   M.   STILWELL 

Teacher  of  Printing,   University  Elementary  School 
University  of  Chicago 


48581 

RAND   McNALLY   &   COMPANY 
:hicago  new  york 


Copyright,  igio,  by 
Rand  McNally  &  Company 


THE  CONTENTS 

PAGE 

The  Preface vii 

The  Introduction.     By  Charles  H.  Judd     ....         xi 


CHAPTER 

I.  A  Description  of  Type 1 

II.  Learning  the  Case 12 

III.  Spacing 22 

IV.  Directions  for  Composition 33 

V.  Proofreading 43 

VI.  Locking  Up 45 

VII.  Imposition 51 

VIII.  The  Press 59 

IX.  The  Distribution  of  Type 67 

X.  ^Measuring 70 

XI.  English 73 

A.  Punctuation 73 

B.  Division  of  Words 83 

C.  Spelling 85 

D.  Capital  Letters 87 

E.  Capitals  and  Small  Capitals 90 

F.  Italics 90 

XII.  Art  in  Printing 92 

XIII.  How  to  Make  Illustrations 108 

XIV.  Paper 117 

XV.  Suggestions  to  Young  Printers    ....  125 

V 


vi  THE   CONTENTS 

PAGE 

Appendix  for  Teachers 131 

A.  The  Value  of  Printing  as  an  Educational 
Subject 133 

B.  Selecting  Equipment 139 

C.  The  Arrangement  of  Printing  Rooms       .      .      153 

D.  Outline  of  Course  in  Printing  in  the  Elemen- 
tary and  High  Schools  of  the  School  of  Edu- 
cation of  the  University  of  Chicago  in 
1916-1917 155 

E.  What  to  Print  in  the  School  Printshop   .      .      168 

F.  Samples  of  Work  Actually  Done  in  School 
Printshops 175 

Glossary 213 

The  Index 223 


THE    PREFACE 

The  School  Printshop  had  its  inception  in  the 
classroom.  It  is  the  outgrowth  of  teaching 
classes  of  elementary-school  pupils,  high-school 
pupils,  after-school  volunteer  pupils  among  whom 
the  work  was  more  or  less  of  a  vocational  nature, 
and  college  students  who  were  fitting  themselves 
to  teach  printing.  It  is  designed  primarily  for 
these  groups  of  students — a  book  to  be  owned 
by  the  pupil  and  to  be  used  by  him  as  a  shop 
manual.  There  is  need  for  a  book  to  supplement 
the  oral  instruction,  one  to  which  the  pupil  can 
refer  as  questions  arise  and  problems  confront 
him.  It  is  not  expected  that  this  book  will  take 
the  place  of  the  teacher,  although  a  pupil  can  make 
progress  with  no  other  than  printed  instruction. 

Not  everything  pertaining  to  the  broad  subject 
of  printing,  nor  indeed  to  any  one  branch  of  it, 
can  or  should  be  taught  outside  of  a  commercial 
printshop  or  a  highly  specialized  school  of  print- 
ing. It  is  necessary  then  to  select  the  printshop 
material  that  is  suitable  for  teaching  purposes  in 
schools.  In  making  such  a  selection  for  this 
manual  I  have  included  only  topics  essential  to  a 
proper  understanding  by  the  pupil  and  basic  to 
the  subject  of  printing.  I  have  attempted  to 
give  in  simple  form,  with  no  confusing  details, 
directions  for  setting  type  and  printing,  so  that 
the  pupil  can  successfully  and  safely  carry  on  all 
the  operations  involved  in  a  manner  consistent 


Vlll  THE   PREFACE 

with  the  best  traditions  of  the  craft.  By  direct- 
ing the  pupil's  attention  to  the  history  of  printing, 
to  its  art  possibiHties,  to  the  interesting  relations 
that  exist  between  printing  and  its  allied  indus- 
tries, I  have  aimed  to  broaden  the  student's  outlook 
and  to  place  printing  where  I  believe  it  belongs 
as  a  cultural  study  in  the  school  curriculum. 

No  attempt  has  been  made  to  present  a  series 
of  lessons  in  regular  order.  Rather  the  matter 
and  method  of  the  book  are  to  be  regarded  as 
suggestive,  as  material  which  each  teacher  can 
adapt  to  his  own  working  conditions.  In  a 
general  way  the  order  of  the  chapters  follows  the 
logical  development  of  the  subject,  but  always 
the  time  and  manner  of  teaching  any  part  of  it 
are  conditioned  by  the  pupils. 

The  pupil  should  be  so  trained  in  the  use  of 
the  book  that  he  can  readily  find  any  needed 
information  or  instruction.  The  printing  pro- 
cesses are  so  interrelated  that  no  one  of  them  can 
be  fully  explained  without  a  reference  to  some 
other.  Hence  no  one  chapter  contains  all  the 
information  about  the  topic  it  deals  with,  nor 
can  the  pupil  fully  understand  or  remember  it 
all  without  the  additional  experience  he  must 
gain  through  the  work  described  in  other  chapters. 
Thus  he  must  refer  time  and  again  to  the  different 
chapters.  Some  chapters  are  to  be  used  only  for 
purposes  of  reference.  The  pupil  will  read  such 
chapters,  the  teacher  illustrating  and  amplifying 
wherever  the  pupil  requires  it.  Since  it  is  desir- 
able to  get  the  pupil  to  work  as  quickly  as  pos- 
sible, chapter  ii  is  suggested  as  the  point  of 
departure.  Because  from  the  start  both  hand 
and  brain  are  employed,  the  pupil  is  interested 


THE   PREFACE  ix 

throughout  the  usually  stupid  preliminary  process 
of  learning  the  case.  Definitions  bore  the  child 
if  an  attempt  is  made  to  teach  them  before  he 
feels  the  need  of  them.  For  that  reason  in  this 
book  terms  needing  defining  have  been  placed  in  a 
glossary. 

The  Appendix  has  been  prepared  with  the 
intent  of  aiding  both  the  trained  printer  who  has 
been  called  upon  to  teach  before  he  has  solved  the 
problems  of  pedagogy  and  the  trained  teacher 
who  is  attempting  to  teach  a  new,  untried  subject. 
Perhaps  no  question  is  more  frequently  asked 
than,  "What  comprises  a  suitable  equipment  for 
a  school  and  what  is  its  cost?"  The  announce- 
ments sent  out  by  dealers  in  printshop  supplies 
are  often  misleading,  ranging  from  "a  school 
printing  outfit  for  $195"  to  "an  equipment  that 
can  be  purchased  for  $1,000."  These  indicate 
to  the  inexperienced  teacher  only  a  money  differ- 
ence. The  list  of  required  articles  in  the  Appen- 
dix should  help  to  make  clear  such  notices,  as  it 
states  the  quantity  required  in  terms  of  the  num- 
ber of  pupils,  a  definite  quantity  for  each  pupil  or 
for  each  group  of  ten  pupils. 

The  course  of  study  for  the  Elementary  and 
High  Schools  of  the  School  of  Education  of  the 
University  of  Chicago  has  for  three  years  been 
used  in  its  present  form.  A  good  course  of  study  is 
a  growing  one;  this  one  is  offered  as  a  working 
hypothesis.  Experience  and  study  will  enable  the 
thoughtful  teacher  to  suggest  many  changes  and 
improvements. 

It  is  a  pleasure  to  acknowledge  indebtedness  to 
many  friends  and  colleagues  for  encouragement 
and  help.     Thanks  are  due  to  Mr.  F.  K.  Phillips 


X  THE   PREFACE 

of  the  Educational  Department  of  the  American 
Type  Founders  Company  for  reading  the  manu- 
script; to  Mr.  Walter  Sargent  of  the  School  of 
Education,  the  University  of  Chicago,  to  Miss 
Rachel  Whittier  of  the  Boston  Normal  Art  School, 
and  to  Miss  Louise  Clark  of  Boston,  Massachu- 
setts, for  practical  art  suggestions;  to  the  late 
Mr.  William  M.  Shirley  of  the  Shirley  Press, 
who  in  early  days  gave  generous  assistance 
when  assistance  was  most  needed;  to  the  various 
manufacturing  firms  for  pictures  and  printshop 
machinery. 

I  take  this  opportunity  to  express  an  appre- 
ciation of  the  attitude  of  the  master  printers 
toward  school  printing.  Their  generous  recogni- 
tion and  friendly  spirit  go  far  toward  connecting 
the  work  of  the  school  with  that  of  the  trade  and 
make  easy  the  passage  from  one  to  the  other. 

Katharine  M.  Stilwell 


THE    INTRODUCTION 

Among  the  manual  arts  there  is  none  which  is 
more  appropriate  to  the  elementary  school  than 
printing.  The  pupil  is  introduced  in  the  first 
grade  to  books,  and  all  through  his  school  life  he 
is  what  the  economists  call  a  "consumer"  of  print- 
ing. He  is  influenced,  without  knowing  the  reasons 
why,  by  the  artistic  arrangement  of  the  pages  of 
his  books  and  by  the  perfection  of  presswork  and 
binding.  He  reads  easily  when  the  printing  is 
well  done. 

As  he  uses  books  his  curiosity  is  sure  to  be 
aroused  about  the  way  in  which  they  are  made. 
This  curiosity  will  be  increased  by  references  in 
his  school  work  to  the  great  changes  which  came 
in  civilization  with  the  invention  of  printing. 
To  deprive  the  pupil  of  information  about  the 
making  of  books  would  be  to  cut  him  off  from 
one  of  the  most  interesting  lessons  which  the 
school  can  teach. 

Adequate  knowledge  about  printing  cannot  be 
drawn  from  mere  description.  It  follows,  there- 
fore, as  an  easy  deduction  from  what  has  been 
said,  that  the  pupil  should  be  allowed  to  become 
in  a  small  way  a  producer  of  printing  in  order 
that  he  may  be  an  intelligent  and  satisfied  con- 
sumer. 

There  are  many  incidental  advantages.  As 
the  pupil  tries  to  set  up  an  artistic  form  he  will 
learn  the  distinction  between  well-arranged  print- 
ing and  careless  work.     As  he  studies  different 


xii  THE   INTRODUCTION 

kinds  of  types  he  will  discover  the  reasons  for  many 
of  the  variations  which  he  has  seen  but  has 
not  noticed.  He  will  also  find  that  he  needs  to 
master  the  mechanics  of  spelling  and  punctuation. 
These  lessons  are  worth  learning,  and  they  will 
be  much  more  vividly  apprehended  by  a  producer 
than  by  a  mere  consumer. 

The  equipment  of  a  printshop  has  certain  advan- 
tages over  other  equipments  for  manual  work.  It 
can  be  used  by  many  pupils  many  times  over. 
It  puts  out  a  product  which  is  intrinsically 
useful. 

Above  all,  the  pupils  are  very  enthusiastic  about 
this  kind  of  work.  They  need  no  artificial  stimu- 
lus to  insure  eager  attention.  The  work  is  itself 
exacting,  and  its  relation  to  all  the  other  activities 
of  the  school  prevents  distraction. 

Evidently  the  problem  of  teaching  printing  is 
no  narrow  problem  nor  one  relating  merely  to 
preparation  for  a  trade.  It  is  a  virtue  of  such  a 
text  as  this  that  it  conceives  the  problem  of  the 
school  printshop  in  terms  broader  than  the  trade 
and  yet  detailed  enough  to  satisfy  even  the 
technical  printer. 

The  use  of  this  material  in  the  University  Ele- 
mentary School  has  been  an  unqualified  success. 
That  the  author  of  the  text  has  put  her  experience 
and  her  skill  at  the  service  of  a  larger  group  of 
teachers  and  pupils  is  a  matter  of  satisfaction  to 
all  her  colleagues. 

Charles  H.  Judd 


Printing  is  preeminently  the  art  of  democracy. 
—  Henry  Turner  Bailey 


A   class  at  ivork 


THE  SCHOOL  PRINTSHOP 

CHAPTER   I 

A   DESCRIPTION    OF   TYPE 

Type  consists  of  small  pieces  of  metal  with  a 
letter  or  character  cast  in  relief  on  one  end,  which 
is  called  the  face.  This  name  is  sometimes  con- 
fusing to  beginners  because,  in  printing,  the  word 
"face"  is  also  used  to  distinguish  one  style  of  type 
from  another. 

The  end  of  the  metal  opposite  the  face  is  usually 
grooved  by  the  machine  in  casting.  This  makes 
two  projections  called  the  feet.  The  term  is 
applied  to  the  end  opposite  the  face  even  when 
the  groove  is  omitted.   (Fig.  1  shows  parts  of  type.) 

Body  is  that  part  of  the  type  between  the  face 
and  the  feet.  It  is  sometimes  called  the  shank. 
Body  also  means  sizes  or  depths  of  type. 

On  the  front  of  the  body  near  the  feet  are  one 
or  more  shallow  grooves  called  nicks,  which  are 
to  guide  the  compositor.  Were  there  no  nicks, 
he  would  have  to  examine  the  face  of  each  piece 
of  type  before  setting  it  in  the  stick  to  make  sure 
that  letters  were  right  side  up.  In  some  cases 
certain  letters  have  an  additional  nick  to  dis- 
tinguish them  from  others  in  the  same  case  for 

1 


2  THE   SCHOOL   PRINTSHOP 

which  they  might  be  mistaken.  For  example, 
in  the  12-point  Lining  Caslon  No.  540  the  small 
capitals  o,  s,  v,  w,  x,  and  z  have  three  nicks  to 
distinguish  them  from  the  same  letters  lower  case, 
which  have  the  ordinar}^  two  nicks  of  the  font. 
The  nicks  also  serve  to  prevent  the  mixing  of 
different  faces  of  the  same  body,  as  the  type 
founders  vary  the  number  and  position  of  nicks 
in  the  different  faces. 

As  there  must  be  space  between  the  letters  of  a 
printed  word,  a  slight  margin  is  left  about  the 
letter  on  the  metal.  The  margin  between  the 
bottom  of  a  letter  and  the  outer  edge  of  the  body 
is  usually  called  the  shoulder.  The  slope  between 
the  face  and  the  upper  surface  of  the  body  is  called 
the  beard  or  neck. 

The  different  parts  of  the  surface  of  the  letter 
are  named.  The  stem,  or  body-mark,  is  the  thick 
line  of  the  face  of  the  letter.  Printers  call  it 
the  thick-stroke.  The  fine  cross  line  put  in  as 
a  finish  to  unconnected  lines  is  called  a  serif. 
The  fine  hair  line  connects  the  stem  or  body- 
marks.  Some  letters,  for  example,  /  and  /,  some- 
times project  over  the  side  of  the  body.  This 
projection  is  called  a  kern,  and  such  letters  are 
spoken  of  as  kerned  letters.  The  depression 
between  the  lines  of  a  face  is  called  the  counter. 
The  pin-mark  is  a  small  circle  indented  in  the 
side  of  the  body  near  the  face.     It  is  made  by  a 


A  DESCRIPTION  OF  TYPE 


'fr—Fc 


ace 


M 


He  I  a  fit 
0.918'' 


Point 


Fig.  1.     SJwiving  the  various  parts  of  a  piece  of  type 


1.  Neck  or  beard 

2.  Hair  line 

3.  Pin-mark 

4.  Nick 

5.  Serif 


6.  Counter 

7.  Shoulder 

8.  Stem 

9.  Groove 
10.   Feet 


4  THE   SCHOOL   PRTNTSHOP 

pin  in  the  mold  during  casting  and  is  used  for 
the  purpose  of  designating  the  foundry  at  which 
it  was  cast. 

The  standard  height  of  type  in  this  country  is 
0.918  inch.  Type  of  this  measurement  from  face 
to  feet  is  type-high.  Type  cast  higher  or  lower 
is  high-to-paper  or  low-to-paper. 

Type  is  uniform  in  height,  but  varies  in  depth 
and  width.  The  body  measurement  of  a  piece 
of  type  is  the  depth  of  the  end  of  the  metal  on 
which   the   type    face   appears.     It   includes    not 


Fig. 


Method  of  measuring  a  piece  of  type  on  a  pica  rule 


only  that  part  of  the  type  which  makes  the 
impression,  but  also  the  open  spaces  at  the  top 
and  bottom  of  the  letter  (Fig.  2). 

The  width  of  the  letters  in  a  font  varies  from  the 
wide  m  to  the  narrow  i.     The  fonts  themselves 


A    DESCRIPTION    OF    TYPE  5 

vary  from  "expanded,"  which  magnifies  the  width, 
to  "condensed,"  which  minimizes  it.  The  posi- 
tion of  the  letter  on  the  body  of  the  type  also  affects 
its  width.  Only  full-bodied  letters  occupy  the 
entire  body  of  the  type.  The  ascending  letters 
occupy  the  upper  three-fourths  of  the  body,  the 
descending  letters  the  lower  three-fourths,  while 
short  letters  like  a  and  e  occupy  about  one-half 
of  the  body  and  are  set  in  the  middle  part.  Each 
letter  needs  space  about  it  to  make  it  legible,  and 
this  surrounding  space  should  be  uniform.  If 
this  space  is  small,  the  letters  are  near  together 
and  the  type  is  consequently  said  to  be  close- 
fitted;  on  the  other  hand,  if  the  space  is  wide, 
the  type  is  wide-fitted. 

Formerly  body  size  of  type  was  designated  by 
name.  At  that  time  there  was  not  a  uniform 
standard  of  type  sizes,  and  type  cast  by  one 
foundry  was  not  always  of  the  exact  size  of  type 
bearing  the  same  name  but  cast  by  another 
foundry.  This  disparity  made  difficult  the  using 
together  of  type  cast  by  different  foundries.  To 
obviate  this,  the  type  founders  of  America  adopted 
what  is  known  as  the  American  Point  System  of 
measuring  type.  They  selected  as  the  standard 
the  pica,  about  one-sixth  of  an  inch,  or,  to  be 
exact,  0.1660044  inch,  in  length.  They  divided 
this  into  twelve  equal  parts  called  points.  All 
bodies   of   type   are   now   made   on   multiples   of 


C  THE    SCHOOL    PRINTSHOP 

this  point  and  are  called  by  numerical  names: 
6-point,  8-point,  10-point,  12-point,  14-point,  and 
so  on.  One  point  is  exactly  0.013837  inch,  or,  for 
practical  purposes,  M2  of  an  inch  (Fig.  3).  Type 
of  72  points,  then,  is  about  one  inch  in  depth. 

1  pica  =0.1000044  inch  1  point  =0.013837  inch 


Fig.  3.     Showing  increase  in  thickness,  by  points,  from 
one  to  twelve 

Type  from  3-point  to  84-point,  and  sometimes 
as  large  as  144-point,  is  cast  in  metal,  but  large 
sizes  are  commonly  made  of  wood.  Wood  type 
is  lighter  and  cheaper  than  metal  type  and  is 
used  for  printing  bills  for  posting,  where  large 
sizes  are  required.  This  kind  of  type  is  made  of 
maple,   box,  pear,  or  other  close-grained  woods. 

The  following  table  gives  the  sizes  of  type  with 
their  numerical  names  and  their  former  names : 

Numerical  Name  Former  Name 

60-point Five-line  pica 

48-point Canon,  or  four-line  pica 

44-point Meridian 

40-point Double  paragon 

36-point Double  great  primer 

32-point Four-line  brevier 

30-point Five-line  nonpareil 

28-point Double  English 

24-point Double  pica 


A    DESCRIPTION    OF    TYPE  7 

Numerical  Name  Former  Name 

20-point Paragon 

18-point Great  primer 

16-point Columbian 

14-point English 

12-point Pica 

11-point Small  pica 

10-point Long  primer 

9-point Bourgeois 

8-point Brevier 

7-point Alinion 

6-point Nonpareil 

53^-point Agate 

5-point Pearl 

43^-point Diamond 

4-point Brilliant 

3-point Excelsior 

An  assortment  of  one  kind  and  size  of  type  used 
together  is  called  a  font.  The  font  is  based  upon 
an  estimate  of  the  number  required  of  each  letter 
in  the  language  and  is  sold  entirely  by  weight  or 
in  job  fonts.  An  ordinary  font  of  roman  type 
contains  the  capitals,  the  small  capitals,  and  the 
lower-case  letters.  Included  in  these  are  the  usual 
ligatures  {JE,  (E,  3d,  ce,  ffl,  ffi,  ff,  fl,  fi),  punctuation 
marks,  figures,  dashes,  braces,  reference  marks, 
and  spaces.  Every  roman  face  has  its  corre- 
sponding italic  (capitals  and  lower  case).  This 
makes  five  scries  in  every  complete  font,  thus 
enabling  the  printer  to  do  many  kinds  of  work 
with  one  size  and  style  of  type. 


8  THE    SCHOOL    PRINTSHOP 

The  bodies  of  type  are  described  by  numbers, 
but  the  style  of  the  face  is  designated  by  name. 
Unless  otherwise  stated,  roman  face  is  always 
understood.  For  example,  18-point  Cheltenham 
means:  body-size,  18-point;  face,  roman;  style, 
Cheltenham. 

The  specimen  books  of  the  great  type  foundries 
contain  many  styles  of  type  faces  grouped  into 
families.  Type  faces  are  constantly  improving, 
and  printers  now  are  using  fewer  styles,  but  of 
better  design,  than  was  the  case  a  few  years  ago. 

The  most  common  groups  of  type  faces  used  in 
this  country  are  roman,  italic,  text,  and  got  hie. 

This  line  is  set  in  roman  type. 

This  line  is  set  in  italic  type. 

dTfjisi  line  i^  sict  in  text,  or  iilacfe  letter,  tppe. 
This  line  is  set  in  gothic  type. 

The  roman  type  is  that  style  which  was  based 
on  the  old  Roman  manuscript.  It  was  first  used 
by  Sweynheim  and  Pannartz  at  Subiaco,  Italy. 
It  has  served  as  a  model  for  the  others.  It  is 
the  simplest  and  best  form  of  type  for  ordinary 
books  and  newspapers.  Under  the  general  name 
of  roman  may  be  grouped  Caslon,  Cheltenham, 
Century,  Delia  Robbia,  Pabst,  Goudy  Old  Style, 
and  many  others  in  common  use.  Not  all  forms 
of  roman  type  are  suitable  for  book  printing. 


SPECIMENS   OF   TYPE   SIZES 
CASLON 

FOURTEEN    POINT 

THE  SCHOOL  PRINTSHOP  789 

EIGHTEEN    POINT 

THE  SCHOOL  PRI  74123 

TWENTY-FOUR    POINT 

THE  SCHOOL  6597 


THIRTY    POINT 


THESCHO  091 


THIRTY-SIX    POINT 


THESGH  26 


FORTY-TWO    POINT 


THES  130 


FORTY-EIGHT    POINT 


THE  1290 


10  THE  SCHOOL  PRINTSHOP 

Certain  families  through  their  use  as  such  have 
come  to  be  classed  as  ornamental  job  type.  Such, 
for  example,  are  the  Delia  Robbia  and  the  Pabst. 

The  italic  is  a  slanting  letter,  also  originating  in 
Italy,  used  as  a  companion  type  to  the  roman 
letter. 

Text  is  modeled  after  the  hand  used  in  the 
manuscripts  before  the  invention  of  printing. 
It  derived  the  name  of  text  from  the  fact  that 
the  early  printers  used  it  for  the  text  or  solid 
part  of  the  page.  Printers  call  it  black-letter 
because  it  shows  more  black  than  white  upon  the 
printed  page.  Bibliographers  speak  of  it  as 
gothic  simply  because  it  has  been  favored  by 
people  of  Gothic  descent.  In  its  early  use  the 
pointed  letter  was  the  formal  and  accepted  style 
for  books  of  devotion.  It  retains  this  use  today. 
It  appears  in  the  type  books  under  several  families 
with  slightly  different  characteristics.  Some  of  the 
common  names  are  Old  English,  Flemish,  and 
Cloister  Black.  German  type  is  a  black-letter 
type. 

The  style  of  type  known  as  gothic  is  not  Gothic 
at  all.  It  also  is  an  imitation  of  Roman  writing. 
It  is  a  black-letter  type  made  of  even  strokes  with 
no  serifs. 

In  the  selection  of  a  type  face  legibility  is  the 
first  consideration.  To  secure  this,  the  type 
design  must  be  simple  in  form,  with  a  pure  line 


A  DESCRIPTION  OF  TYPE  11 

unhampered  by  useless  and  meaningless  turns. 
It  must  combine  well  with  other  letters  to  form 
words.  Each  letter  and  figure  should  be  distinct 
so  that  one  cannot  be  mistaken  for  another.  The 
line  should  be  firm  and  bold;  strong  enough  to 
have  character;  not  so  fine  as  to  produce  a  weak 
tone  on  the  printed  page.  Type  with  hair  lines 
should  be  avoided;  nor  should  type  so  condensed 
as  to  require  over-much  spacing  be  chosen.  The 
type  of  today  must  be  adapted  for  use  in  printing 
by  a  power  press  on  soft  paper. 


CHAPTER   II 
LEARNING   THE   CASE 

Formerly  in  the  printshop  type  was  kept  in 
what  are  called  news  cases — that  is,  a  pair  of 
cases,  upper  and  lower,  so  designated  from  their 
position  on  the  case  stand,  a  light,  wooden  frame 
made  to  support  them.  The  top  of  the  stand  is 
so  arranged  that  it  holds  the  two  cases  at  different 
angles.  This  is  for  the  purpose  of  enabling  the 
compositor  to  see  and  reach  all  the  type  in  each 
case. 

News  cases  are  divided  into  compartments  or 
boxes  so  that  there  is  a  box  for  each  character  in 
the  font  of  type.  The  upper  case  contains  on 
the  right  the  capitals  (called  caps)  and  on  the 
left  the  small  capitals  (called  small  caps).  The 
remaining  boxes  contain  the  fractions,  signs, 
diphthongs,  and  other  characters  used  in  printing. 
The  upper  case  is  divided  into  ninety-eight  boxes 
of  uniform  size.  In  the  lower  case  are  the  small 
letters,  the  digits,  the  ligatures,  the  punctuation 
marks,  the  spaces,  and  the  quadrats,  commonly 
called  quads.  The  lower  case  consists  of  fifty- 
four  rectangular  compartments  of  unequal  size. 

12 


LEARNING   THE   CASE 


13 


The  larger  boxes  are  designed  to  hold  the  letters 
most  frequently  used,  while  the  smaller  boxes 
contain  those  less  frequently  used  and  therefore 
fewer  in  number. 

The  easiest  way  to  learn  the  case  is  by  paper 
folding.  Fold  a  piece  of  paper  eight  by  four  into 
thirty-two  squares.      (See  Fig.  4.) 


b 


Fig.  4.     First  step  in  folding  paper  to  learn  the  case 

Now  fold  the  upper  edge  aa  to  meet  the  first 
crease  hh,  crease,  and  tear  off,  thus  leaving  the 
rectangle  eight  by  three  and  one-half.  With  a 
pencil  trace  the  lines  as  indicated  in  Fig.  5,  on  the 
following  page. 

Next  add  the  lines  as  shown  in  Fig.  6,  and  you 
have  a  drawing  of  the  lower  case.  From  Fig.  7, 
on  page  15,  you  can  readily  learn  the  location  of 
the  small  letters,  the  digits,  the  ligatures  (^z,  f,  ffi. 
fl),  the  punctuation  marks,  the  spaces,  and  the 
quads. 


14 


THE    vSCHOOL    PRINTSHOP 


Fig.  5.     Second  step  in  learning  the  case 

With  ruler  and  cardboard  draw  Fig.  6  to  any 
scale  desired,  and  as  you  learn  the  case  complete 
the  diagram  to  the  stage  shown  in  Fig.  7,  on 
page   15. 


Fig.  6.     Diagram  of  the  loiver  rase 

Commercial  shops  are  now  discarding  the  open- 
case  stands  in  favor  of  closed  cabinets ;  news  cases 
are  therefore  falling  into  disuse.  The  case  stand 
is  made  for  men;  the  upper  case  is  therefore  too 


00 

o 

o 

ppiniT)  rag; 

V2 

^■ 

a^ 

■:^ 

spinil)  U3[ 

& 

o 

cJD 

<^ 

■ 

o 

v^ 

?^ 

.^ 

'^ 

X! 

1^ 

^ 

a 

i-^ 

Oi 

•  rH 

O 

c3 

T— 1 

<x> 

-^ 

3  em 
space 

r^ 

"^ 

fl 

-+^ 

•^> 

o 

^ 

? 

o 

^ 

pO 

-- 

>■ 

'efi 

.-, 

.-V. 

___ 

SI 

X 

— H 

15 


8 

O 

O 

^ 

^ 

K 

f^ 

i^ 

K* 

^ 

9 

H 

^ 

H 

;-> 

^ 

P 

H^ 

m 

"^ 

^ 

O 

Ui 

K 

N 

•^ 

pq 

HH 

C 

;^ 

m^ 

^ 

w 

(^ 

>< 

Oj 

o 

o 

spT?nb  rag 

r/3 

I- 

5« 

"^ 

spijiib  U3 

o 

cC 

<  -^ 

' 

o 

=4-1 

^ 

TJ^ 

M 

pH 

- 

CO 

K^ 

o\ 

•  i-H 

o 

73 

T-H 

o 

^ 

3  em 
space 

r^ 

^ 

PJ 

4-1 

•-  > 

-i 

o 

r^ 

^ 

o  S 

© 

t: 

rO 

-- 

> 

56 

.^ 

(TL. 

-• 

SI 

X, 

o^ 

16 


LEARNING   THE   CASE  17 

high  for  schoolroom  use.  Instead  of  the  news 
cases  most  school  shops  now  use  the  California 
job  case.  Its  size  is  that  of  the  lower  case,  but 
one-third  of  the  space  is  divided  into  thirty-five 
compartments  for  the  capitals  and  sorts,  while 
the  remaining  two-thirds  has  fifty-four  smaller 
boxes  which  hold  the  letters  and  other  characters, 
placed  as  in  the  ordinary  lower  case  (see  Fig.  8 
on  the  preceding  page). 

The  California  job  case  can  readily  be  learned  by 
paper  folding  as  for  the  simple  lower  case.  Use 
paper  eight  by  four.  After  folding  it  into  three 
vertical  rectangles,  tear  off  the  right-hand  one, 
and  then  proceed  as  indicated  in  the  directions 
for  the  lower  news  case,  which  are  given  on 
page  13. 

The  Yankee  job  case  is  used  in  many  closed 
cabinets.  The  case  is  made  five  and  one-half  by 
eight  instead  of  three  and  one-half  by  eight,  and 
the  additional  space  is  divided  into  two  rows  of 
sixteen  boxes  each  for  the  capital  letters.  This 
case  differs  from  the  other  cases  not  only  in 
having  the  capital  letters  on  its  long  side,  but 
also  in  the  order  in  which  the  capital  letters  are 
laid  in  the  case  (see  Fig.  9  on  page  18).  The  lower- 
case letters  are  laid  as  they  are  in  the  news  and 
in  the  California  job  cases  (see  Figs.  7  and  8). 


<^ 

^ 

X 

^ 

o 

spcnb  lug 

c3 

o 

6 

i^ 

St-( 

trt 

spnnb  U3 

3 

^ 

^ 

o 

bD 

<  •- 

' 

^ 

p 

»r: 

«f^ 

^ 

- 

y^ 

Hd 

-* 

03 

P-t 

f-l 

^^ 

N 

CO 

►"* 

1— 1 

;-^ 

'^ 

•  ^ 

o 

c^ 

M 

rH 

^ 

'^ 

Oi 

'^ 

o 

b 

;i^ 

K' 

l> 

^ 

P! 

^ 

w 

H 

'*■-  > 

c 

m 

a 

a 

?i 

o 

^ 

w 

a 

■^ 

,^ 

- 

>- 

<1 

^ 

-r-. 

— - 

.-V. 

-• 

s; 

>< 

a" 

18 


LEARNING  THE  CASE 


19 


The  most  interesting  way  to  learn  the  arrange- 
ment of  the  case  is  to  set  up  the  type  in  each  box. 
Adjust  your  stick^  to  any  desired  measure.  Hold 
it  in  your  left  hand  at  such  an  angle  that  the  type 
will  not  fall  out  (Fig.  10).  With  your  right  hand 
pick  up  a  piece  of  type  and  place  it  in  the  stick  on 
its  feet  with  the  nick  up.     Use  your  left  thumb  to 


Fig.  10.     Showing  correct  method  of  holding  stick 

hold  it  in  position  until  the  next  piece  of  type  is  put 
into  the  stick.  When  you  have  an  entire  line  of 
type,  hold  it  up  before  your  eyes  and  read  it.  Be 
sure  the  nicks  are  up.  Set  lines  of  one  letter  until 
you  can  readily  recognize  that  letter  upside  down. 
Then  mark  that  letter  in  its  compartment  on  your 
diagram  and  set  up  the  letters  in  another  box. 
Proceed  in  this  manner  until  you  know  the  entire 

1  See  direction  Nn.  2,  page  3.3. 
3 


o 

r 

9 

e- 

O 

^ 

1 

\ 

^ 

f^ 

1-^ 

^ 

k- 

=i^ 

I 

W 

V-l 

H 

P 

^ 

CO    ( 

S  1 

00 

Pi 

H^ 

zn. 

*~5 

© 

S  1 

O 

14 

^ 

N 

m^ 

C+?. 

i 

p; 

1 — 1 

a 

;^ 

€/:* 

1 

<1 

W 

Ph 

;-i 

k 

s 

ci) 

o 

^ 

-- 

w= 

10\ 

CJ 

(^ 

^ 

> 

^ 

= 

;^ 

e 

H 

?? 

H 

l-j 

(VA 

^ 

tJ 

- 

1-1 

rX 

^    1 

-Hi- 

c<i 

C" 

1^ 

r-» 

s; 

-^ 

\M 

« 

hH 

o- 

r^ 

* 

:s; 

-< 

w 

P4 

X 

c^ 


20 


LEARNING   THE   CASE  21 

case  and  can  recognize  every  letter  and  punctua- 
tion mark  upside  down} 

The  upper  case  can  be  learned  very  quickly,  as 
the  capital  letters  are  in  regular  alphabetical 
order,  with  the  exception  of  /  and  U,  which  were 
not  a  part  of  the  alphabet  when  the  case  was 
planned.  The  Romans  used  I  and  V  as  both 
consonants  and  vowels.  Later,  when  /  came  to 
be  used  for  consonantal  /,  and  U  for  vowel  V , 
these  letters  were  placed  in  the  case  in  boxes 
following  Z.  The  three  upper  rows  of  the  upper 
case  contain  the  diphthongs,  fractions,  dashes, 
braces,  and  various  reference  marks  which  young 
printers  seldom  require.  Not  all  school  printshops 
have  a  complete  assortment  of  the  type  that  is 
kept  in  these  boxes,  but  in  those  shops  that  have 
them  it  is  of  advantage  to  the  pupils  to  know 
where  they  belong.  Fig.  11  shows  a  diagram 
of  the  upper  case. 

1  To  the  Teacher:  See  that  each  pupil  learns  in  the  beginning 
to  hold  his  stick  correctly  in  his  left  hand.  This  direction  may 
be  helpful:  With  the  stick  held  in  the  right  hand  place  the 
left  thumb  in  the  corner  made  by  the  knee  and  the  bottom  of 
the  stick.  Without  moving  the  thumb,  clasp  the  fingers  around 
the  bottom  of  the  stick  and  release  the  right  hand.  This  applies 
to  the  left-handed  as  well  as  to  the  right-handed  child.  Teach 
him  to  pick  up  the  type  with  his  right  hand  and  to  put  it  in  the 
stick  with  the  most  direct  movement.  Whether  he  grasps  it 
between  the  thumb  and  the  forefinger  with  the  nick  up,  or 
whether  he  turns  the  type  over,  depends  upon  the  position  it 
occupies  in  the  box.  The  imi)ortant  thing  is  a  steady,  economi- 
cal movement.  This  is  the  time  to  form  correct  habits  of  hand- 
ling type.  Have  the  pupil  take  a  good  position  at  a  stand  of 
the  proper  height  and  do  not  permit  him  to  slouch  at  the  case. 


CHAPTER   III 
SPACING 

Great  care  must  be  exercised  in  composition  in 
the  matter  of  spacing.  Not  only  the  spacing 
between  the  words,  but  the  leading  between  the 
lines,  the  indention  of  the  lines,  and,  in  some 
cases,  the  spacing  between  the  letters  of  a  word 
influence  the  final  appearance  of  a  page  of  print. 

Spaces  are  shorter  than  type,  being  made  about 
four-fifths  the  height  of  the  type,  and  of  various 
thicknesses.  Quads  are  large  blanks  used  to  fill 
out  lines  of  paragraphs  or  poetry,  or  other  uncom- 
pleted lines.  An  em  quad  is  a  square  of  type 
body  of  any  size  (Fig.  12).  In  10-point  type  it  is 
10  points  square;  in  14-point  it  is  14  points  square. 
An  en  quad  is  half  the  size  of  the  em.     The  two- 

■       ■      ■      ■       ■      ■ 

Si.\-Pt.  Eight-Pt.  Ten-Pt.  Eleven-Pt.        Twelve-Pt.      Fourtcen-Pt. 

Fig.  12.     Exact  sizes  of  em  quads 

em  quad  is  twice  as  long  as  it  is  thick.     The  three- 
em  quad  is  three  times  as  long  as  it  is  thick.     A 

22 


SPACING  23 

three-to-em    space  ^    (frequently    called    a    thick 
space)  is  one-third  of  the  em ;  a  f our-to-em  space 

■■  ■  II  III  nil 


2-em 

1-em 

En 

3-em 

4-em 

5-em 

Hair 

Quad 

Quad 

Quads 

Spaces 

Spaces 

Spaces 

Spaces 

Fig.  13.     Exact  sizes  of  quads  and  spaces  of  14- point  type 

is  one-fourth  of  the  em;  a  five-to-em  space  is 
one-fifth  of  the  em.  A  thin  space  is  usually  a 
five-to-em  space.  The  hair  space  varies  from  one 
to  two  points  in  thickness  as  the  type  increases 
in  size.  Hair  spaces  are  also  made  of  brass 
and  of  copper,  one  point  and  one-half  point  thick, 
respectively.     (See  Fig.  13  for  spaces.) 

It  is  necessary  to  know  the  blanks  provided  for 
spacing.  With  experience  one  learns  to  recognize 
the  size  of  a  space  both  by  touching  it  and  by 
looking  at  it. 

The  following  exercise  is  helpful  to  a  beginner. 
Use  12-point  type. 

1.  With  a  pica  ruler  measure  the  em  quad.  Measure 
the  en  quad.  Compare  them.  The  en  quad  equals  what 
part  of  the  em  quad?  How  many  en  quads  in  an  em  quad? 
Prove  by  placing  en  quads  side  by  side  on  an  em  quad. 
How  many  points  in  each? 

2.  How   many   three-to-em   spaces   equal   an   em   quad? 

1  Printers  commonly  use  the  terms  three-em,  four-em,  and 
five-em  in  referring  to  the  spaces.  Do  not  let  the  similarity  of 
terms  in  three-em  spaces  and  three-em  quads  confuse  you  as 
to  the  meaning. 


24  THE  SCHOOL  PRINTSHOP 

Prove  this  by  placing  the  three-to-em  spaces  side  by  side 
on  the  em  quad.  A  three-to-em  space  equals  what  part  of 
the  em  quad?  How  many  points  in  a  three-to-em  space? 
How  much  wider  is  the  en  quad  than  the  three-to-em  space? 
How  many  points  in  two  three-to-em  spaces?  How  many 
points  wider  is  this  than  the  en  quad? 

3.  Examine  the  four-to-em  space.  Compare  it  with  the 
em  quad.  How  many  four-to-em  spaces  equal  the  em  quad? 
Place  them  together.  A  four-to-em  space  is  how  many 
points?  Compare  it  with  the  en  quad.  How  many  points 
difference?  Compare  it  with  the  three-to-em  space.  How 
many  points  difference?  Which  is  wider  and  how  much, 
two  three-to-em  spaces  or  three  four-to-em  spaces?  How 
many  points  in  a  three-to-em  and  a  four-to-em  space  together? 

4.  Ask  yourself  similar  questions  about  the  five-to-em 
spaces.  Study  them  until  you  readily  know  one  space  from 
another.     If  in  doubt,  measure  by  the  em  quad. 

5.  With  the  other  sizes  of  type  study  the  spaces  in  the 
same  way.  When  setting  type,  know  exactly  the  number 
of  points  you  are  placing  between  the  words.  Do  not  vary 
by  more  than  the  difference  between  a  three-to-em  space 
and  an  en  quad. 

Spaces  are  aliquot  parts  in  width  of  the  em  quad. 
En  quad  equals  Jo  of  the  em  quad 

Three-to-em  space  "  .^3  "  "  "  " 
Four-to-em  space  "  M  "  "  "  " 
Five-to-em  space  "      }f,    "    "     "      " 

The  table  on  page  25  shows,  in  terms  of  the 
em  quad,  the  combinations^  that  produce  the 
smallest  increase  in  space  between  two  words. 

1  Reducing  the  fractional  parts  of  the  em  to  a  common  denomi- 
nator enables  even  the  youngest  printers  to  see  at  a  glance  how 
much  they  are  increasing  the  space. 


SPACING 


25 


The  three-to-em  space  (ordinarily  used)  equals  3 3,  or  20/60 
Two  five-to-em  spaces  equal    2-5^  or  24/60 

A  four-to-em  and  a  five-to-em  (M+^o)  "  %o,  or  27/60 
An  en  quad  equals  >^,  or  30/60 

A  three-to-em  and  a  five-to-em  (3^3+^5)  equal  ^{5,  or  32/60 
A  three-to-em  and  a  four-to-em  (J'3+3'4)  "  K2»  or  35/60 
Two  three-to-em  spaces  "       2^,  or  40/60 

Hair  spaces  are  used  between  the  words  in  this  line. 
Five-to-em  spaces  are  used  between  the  words  in  this  line. 
Four-to-em  spaces  are  used  between  the  words  in  this  line. 
Three-to-em  spaces  are  used  between  the  words  in  this  line. 


Leads  and  slugs   irregularly  placed  on  a  galley 


■liiibuv 


Leads  anil  slugs  after  rearrangement 

Fit;.  14.  Sorting  leads  and  slugs 

Space  between  lines  of  type  is  made  by  placing 
leads  between  them.      Leads  (Fig.  14)    are  thin 


26  THE  SCHOOL  PRINTSHOP 

strips  of  soft  type-metal  about  three-fourths  of  an 
inch  high  and  varying  in  thickness  from  one  to 
six  points.  The  two-point  leads  are  commonly 
used  between  lines  of  type.  Six-point  leads  are 
called  slugs.  Slugs  are  also  made  8  points,  10 
points,  12  points,  and  more  in  thickness.  Brass 
strips,  which  are  more  durable  than  lead,  are 
used  in  some  newspaper  offices. 

Different  printshops  differ  somewhat  in  their 
style  of  work ;  the  following  general  rules,  however, 
seem  to  meet  the  approval  of  many  good  printers : 

1.  A  three-to-em  space  is  used  between  words 
set  in  ordinary  lower-case  letters. 

2.  The  en  quad  is  used  between  words  set  in 
capitals  or  in  extended  letters. 

3.  An  en  quad  follows  a  colon,  a  semicolon,  an 
interrogation  point,  and  an  exclamation  point 
within  the  sentence. 

4.  The  space  placed  after  a  period  ^  is  slightly 
greater  than  the  other  spaces  used  in  the  line. 
If  spacing  with  the  three-to-em  space,  use  an  en 
quad  after  the  period. 

5.  Because  the  comma  has  so  much  shoulder, 
a  word  followed  by  a  comma  requires  less  space 

'  Many  printers  follow  the  period  with  the  em  quad.  The 
end  of  one  sentence  is  marked  by  the  period.  The  capital  letter 
indicates  the  beginning  of  the  next  sentence.  A  wide  space 
is  therefore  not  necessary  to  the  thought.  It  may  detract  from 
the  appearance  of  the  page.  Hence  some  excellent  printers  are 
using  less  space. 


SPACING  27 

than  other  words  in  the  same  line  not  followed 
by  a  comma.  If  the  line  is  spaced  with  three-to- 
em  spaces,  a  four-to-em  space  should  follow  the 
comma.  This  is  also  true  of  the  period  used  to 
mark  abbreviations. 

6.  A  three-to-em  space  precedes  the  first  and 
follows  the  last  mark  of  parenthesis  or  bracket. 

7.  A  thin  space  follows  the  first  and  precedes 
the  last  mark  of  parenthesis  or  bracket  if  there  is 
not  a  wide  shoulder.  (The  use  of  the  one-point 
or  the  one-half-point  is  determined  by  the  width 
of  shoulder  in  the  type.) 

8.  A  thin  space  should  be  placed  before  the 
exclamation  point,  the  interrogation  point,  the 
colon,  and  the  semicolon,  except  when  the  marks 
are  cast  (as  they  sometimes  are)  with  sufficient 
shoulder  to  render  it  unnecessary. 

9.  A  thin  space  should  separate  the  quotation 
marks  from  adjacent  letters  which  are  too  close. 

10.  No  space  is  needed  with  the  dash  unless  it 
follows  a  comma.  In  that  case  a  thin  space 
should  be  placed  after  the  em  dash. 

11.  In  poetry  and  at  ends  of  paragraphs  in  which 
the  type  does  not  fill  out  the  line,  the  blank  is 
completed  with  quads.  If  the  quads  do  not  fill 
the  line,  spaces  are  used,  placed  next  to  the  type. 

12.  The  space  on  each  side  of  a  word  of  two 
letters  should  not  be  greater  than  the  space 
between  longer  words. 


28  THE   SCHOOL   PRINTSHOP 

13.  Increase  rather  than  diminish  the  space  in 
order  to  "justify." 

Uneven  spacing  is  to  be  avoided.  Spacing 
should  seem  to  be  the  same  in  all  lines  on  the  page. 
Absolute  uniformity  is  impossible,  but  the  best 
compositors  approach  the  ideal  as  nearly  as  they 
can.  The  amount  of  spacing  to  be  put  between 
words  varies.  It  depends  upon  the  measure,  the 
width  and  irregularity  of  the  letters,  and  the 
leading  between  the  lines.  While  the  three-to-em 
space  is  generally  accepted  as  the  normal  amount 
of  space  to  be  used  between  words  set  in  ordinary 
lower-case  roman,  there  are  exceptions  to  this. 
Condensed  faces  or  closely  fitted  fonts  are  much 
more  easily  read  when  spaced  with  the  four-to-em 
space  than  when  the  three-to-em  is  used.  Extra 
wide  spacing  is  to  be  avoided  whenever  possible, 
as  it  tends  to  produce  the  ' '  rivers  of  white ' '  which 
greatly  disfigure  a  page  of  print.  In  printing 
around  cuts,  however,  wide  spacing  is  of  course 
often  unavoidable,  but  the  blemish  can  be  some- 
what hidden  by  normally  spacing  the  lines  which 
immediately  precede  and  follow  these  wide-spaced 
ones.  If  there  were  the  same  slant  to  all  the 
letters,  and  if  the  shoulders  on  all  letters  were 
equal,  spacing  would  be  reducible  to  a  mathe- 
matical computation.  Spacing,  however,  should 
only  appear  to  be  uniform.  Consequently  the 
good  typographer  must  gauge  the  spacing  of  words 


SPACING  29 

according  to  the  presence  or  absence  of  punctua- 
tion, the  slope  and  height  of  the  end  letters,  and 
the  amount  of  shoulder  these  end  letters  bear. 
It  is  this  nicety  of  spacing  which  makes  the  com- 
positor's work  an  art  for  which  no  rules  can  be 
laid  down,  but  which  calls  for  constant  exercise  of 
good  taste  and  study  on  the  part  of  the  printer. 

Because  type  is  inflexible,  the  compositor  is 
frequently  confronted  with  a  choice  of  evils. 
Sometimes  a  long  word  of  one  syllable  cannot  be 
put  in  at  the  end  of  the  line,  and  the  space  thus 
left  must  be  filled.  Sometimes  an  improper  divi- 
sion of  a  word  or  the  ending  of  several  successive 
lines  in  hyphens  presents  itself  as  an  alternative  to 
poor  spacing.  In  all  such  cases  the  best  com- 
positor will  preserve  his  spacing  as  far  as  may  be, 
realizing  that  upon  the  spacing  depends  that  even 
tone  of  the  page  which  is  to  give  to  his  work  the 
effect  of  solidity. 

Leads  are  placed  between  the  lines  of  type 
primarily  to  render  the  page  more  readable.  As 
a  rule  there  should  be  more  space  between  the 
lines  than  between  the  words  in  the  line.  Type 
without  leads  is  said  to  be  solid;  with  leads  it 
is  spoken  of  as  single-leaded,  or  wide-leaded, 
according  to  the  amount  of  space  thus  secured. 
Either  practice  is  good  form,  provided  the  style 
chosen  is  consistently  carried  out.  Roman  type 
is  much  more  legible  when  leaded,  but  for  economy 


30  THE   SCHOOL   PRIXTSHOP 

of  space  it  is  sometimes  set  solid.  Black-letter 
should  always  be  set  solid.  It  is  a  decorative  type 
in  which  the  black  lines  much  exceed  the  white 
spaces  between  the  lines  of  the  letter,  and  these 
characteristics  are  greatly  enhanced  by  close 
spacing.  This  holds  true  of  such  heayy  body  type 
as  that  designed  by  William  Morris. 

When  the  page  is  set  in  wide  measure,  it  gener- 
ally requires  more  leading  than  when  set  in  nar- 
row measure.  Wide  leading,  however,  does  not 
demand  extremely  wide  spacing.  On  the  contrary, 
very  wide  spacing  is  fatal  to  the  wide-leaded 
page,  the  combination  resulting  in  a  lack  of  coher- 
ence, giving  a  loose,  scattered  appearance. 

The  best  results  in  wide-leaded  pages  may  be 
observed  in  the  work  of  the  French  typographers 
of  the  eighteenth  century,  who  also  used  the 
extremely  wide  margins  which  this  style  of  lead- 
ing must  have  to  band  in  the  page. 

Indention  is  another  form  of  spacing  used  prin- 
cipally to  mark  the  beginning  of  paragraphs.  It 
is  also  used  in  display  and  semi-display  lines  to 
distinguish  certain  arrangements. 

In  ordinary  book  pages  one  em  is  the  usual 
indention  used  to  indicate  to  the  eye  the  beginning 
of  a  new  paragraph.  Two  ems  are  sometimes 
used,  but  only  when  the  line  is  long  or  the  page 
wide-leaded.  The  use  of  quotation  marks  (or  of 
certain  initial  letters)    may  render  necessary  the 


SPACING 


31 


use  of  additional  indention  in  order  to  make  the 
capitals  in  dialogue  or  poetry  align. 


■^*>^, 


>'-iscd  are  c/icy  who  peaceably  shall  ei>- 
.m:  lor  thou.  O  most  Highesr,  shall  oiVe 
iicn.icTow;i!       '- 

CbuJro  5,.  m,  s^-noro.  per  sera  no.srra 
;...•.. o,p„fc.  da  hqu.,Ien>,llul,on,o 

..."■ ''  P'f "  "'"fT-J'.-  beat,  qudJ,  ke 
•■■  ..J  nc  Ic  tuesancnssime  voiunrar. 

^'■'■'™^h'- second 
^0  them 


£j/  cuarUsu  of  Mrs.  F.  H.  Lillie 

Fig.  15.     Reproduction  of  a  page  from  a  volume  of  St.   Francis 
printed  by  the  Doves  Press 

Paragraph  indention  does  not  tend  to  make  a 
page  beautiful.  Therefore,  if  the  copy  consists 
of  one  paragraph  only,  the  indention  may  be 
omitted.  If,  on  the  other  hand,  there  are  two  or 
more  paragraphs,  the  omission  of  the  indention 
savors  of  a  mannerism. 


32  THE  SCHOOL  PRINTSHOP 

Whenever  the  style  of  type  permits,  printers 
may  resort  to  the  insertion  of  the  paragraph  sign. 
This  was  a  common  device  of  the  early  printers 
and  has  been  used  effectively  by  William  Morris 
and  by  Cobden-Sanderson  of  the  Doves  Press, 
but  its  general  use  cannot  be  commended.  (See 
Fig.  15.) 

Hanging  indention  is  sometimes 

• used  to  show  a  change  in  subject 

matter.     In  this  form  of  inden- 

tion,  the  first  line  is  set  the  full 

width  of  the  measure,  while  all  the  following  lines 
are  indented  one  or  more  ems  on  the  left. 

The  squared  indention  consists  of 

shortening  the  width  by  indenting 

■ each  line  at  both  the  beginning 

and  the  end.  It  is  very  satis- 
factory when  the  copy  admits  of  even  spacing 
between  the  words. 

The   inverted    pyramid   is    some- 

times  used  on  title  pages.     It  was 

used  by  the  early  printers  as  a 

-  form     for     chapter     endings.     It 

makes  an  effective  ending  for  a  long  paragraph  on 
a  card  which  does  not  require  special  display. 


CHAPTER   IV 
DIRECTIONS  FOR  COMPOSITION 

Composition  in  printing  means  setting  type, 
proving,  correcting,  and  making  up  into  pages 
ready  for  the  press. 

1.  Stand  in  front  of  your  case.  Never  lean 
against  it.  If  your  case  is  too  high,  use  a  plat- 
"orm.  Choose  one  which  is  low  enough  to  keep 
your  body  erect,  but  not  too  low  to  allow  your 
right  arm  free  play. 

2.  Set  your  stick  (Fig.  16)  to  the  desired  meas- 
ure.    To  do  this  accurately,  use  a  sufficient  num- 


Fig.  16.     A  composing  stick 


ber  of  12-point  em  quads  to  make  the  desired 
length  of  line.  Then,  in  order  that  the  type  may 
be  a  trifle  loose  when  the  stick  is  locked  tight, 
insert  a  thin  piece  of  paper  in  one  end.  Move 
the  clamp  up  against  the  quads  tight  enough  to 
prevent  the  type  from  falling  forward,  but  loose 

33 


34 


THE  vSCHOOL   PRINTSHOP 


enough  to  permit  lifting  the  Hne  from  the  stick. 
Adjust  the  clamp  firmly  at  this  point,  then  re- 
move the  quads  and  the  paper  and  place  in  the 
stick  a  lead  the  same  length  as  the  measure.  Put 
in  a  composing  rule^  (Fig-  17),  if  you  are  using 
one,  the  length  of  the  measure. 

3.  Hold  the  stick  in  your  left  hand  inclined  at 
such  an  angle  that  the  type  will  strike  the  rule  or 
lead  directly.  Pick  up  the  type  between  the 
thumb  and  forefinger  of  the  right  hand.  Select 
a  piece  of  type  that  you  can  pick  up  and  place 
in  the  stick  with  a  direct  movement  of  the  hand, 
if  possible  without  turning  the  type.  As  you 
place  the  type  in  the  stick  let  your  eye  fall  upon 
the  nick  of  the  next  piece  you  will  use. 


P 


Fig.  17.     A  composing  rule 

1  A  composing  rule  is  made  of  metal,  usually  2  points  thick. 
It  is  type-high  and  may  be  had  in  any  length.  At  each  end  is 
an  ear  by  which  to  lift  it  out  of  the  stick.  Each  piece  of  tj^pe 
is  set  in  the  stick  against  the  rule,  and  when  the  line  is  finished 
the  rule  is  taken  out  and  placed  in  front  of  it. 

A  composing  rule  enables  the  compositor  to  set  type  rapidly. 
It  is  necessary  in  setting  matter  that  is  not  to  be  leaded.  It  is 
useful  in  tying  up.  But  in  a  class  which  docs  a  variety  of  work, 
so  many  rules  would  be  required  that  many  elementary-school 
shops  do  not  use  them  for  composition.  In  such  shops  tlie 
teacher  usually  keeps  a  rule  to  be  used  in  tying  up  the  type. 
Speed  is  not  a  factor  in  children's  work,  nor  is  it  deemed  advis- 
able to  have  elementary-school  children  set  matter  without  leads. 


DIRECTIONS  FOR  COxMPOSITION  35 

4.  Begin  to  set  type  in  the  left-hand  corner  of 
the  stick.  Place  the  body  of  the  type  against  the 
lead  or  composing  rule  with  the  nicks  out  and  the 
face  toward  you.  See  that  the  type  stands 
firmly  on  its  feet  and  hold  it  in  place  with  your 
left  thumb. 

5.  Make  the  blank  which  appears  between 
words  by  the  use  of  a  space,  the  three-to-em  size. 

6.  Read  carefully  each  line  when  it  is  set  and 
correct  all  errors  before  putting  in  a  lead.  Be 
sure  that  the  nicks  align.  Learn  at  the  start  to 
read  your  type  with  the  letters  upside  down. 

7.  If  the  line  is  poetry  which  does  not  fill  out 
the  measure,  begin  at  the  right  end  of  the  stick 
and  put  in  quads  to  meet  the  end  of  the  type. 
If  the  quads  do  not  make  the  line  tight  enough, 
add  spaces,  putting  them  next  to  the  type.  Fill- 
ing the  line  in  this  manner  makes  distribution  of 
type  much  easier  and  prevents  the  spaces  from 
falling  off  the  end  of  the  line  while  being  locked  up. 

8.  A  line  of  prose  must  end  in  a  word  or  syllable. 
In  correcting  errors  in  the  line  of  type  or  in  making 
each  line  end  with  a  completed  word  or  syllable, 
it  may  be  necessary  to  change  the  spaces  first 
put  between  the  words.  This  process  is  called 
justification.  If  more  room  is  needed  for  the 
type,  the  spaces  may  be  changed  for  thinner  ones ; 
if  the  line  is  too  loose,  wider  spaces  may  be  used. 
In  either  case  keep  the  spaces  as  nearly  alike  as 

4 


36 


THE    SCHOOL    PRINTvSHOP 


possible.  Where  variation  is  necessary,  place 
the  wider  spaces  between  words  ending  with  high 
letters  so  that  the  spacing  will  appear  the  same. 

9.  Spacing  should  be  uniform.  Do  not  allow  a 
thin-spaced  line  to  follow  a  wide-spaced  line,  nor 
vice  versa. 

10.  See  that  the  type  rests  squarely  on  its 
feet,  and  justify  the  line  uniformly.  A  line  that 
will  not  stand  in  the  stick  unsupported  is  too 
loose.  If  it  cannot  be  easily  removed  from  the 
stick,  it  is  too  tight. 

11.  When  the  line  has  been  justified,  read  it 
once  more,  looking  for  outs  and  doublets.  Mis- 
takes should  be  detected  and  corrected  while  the 
type  is  in  the  stick,  before  the  lead  is  placed  in 


Fig.  18.     Con-ret  method  of  removing  type  from  stick 

position.     Then  put  in  a  lead,  place  the  composing 
rule  in  front  of  it,  and  set  another  line  of  type. 


DIRECTIONS   FOR    COMPOSITION 


37 


12.  When  the   stick   is   full,    lift   out   the  type 
(Fig.  18)   and  place   it   in  your  galley  (Fig.  19). 


Fig.  19.     Galleys 

Set  the  stick  in  the  galley.  Never  loosen  the  stick 
to  take  out  the  type.  Do  not  wet  the  type  in  the 
stick.  Always  handle  your  type  with  the  top  of 
the  letters  toward  you.  In  removing  the  type 
place  your  thumbs  behind  the  first  line  in  the 
stick,  and  the  forefingers  in  front  of  the  last  line 
set.  Press  firmly  together  the  lines  of  type  thus 
held  and  raise  them  slightly  while  the  other  fingers 
push  the  stick  downward.  Use  the  sides  of  the 
second  fingers,  bent,  to  hold  the  ends  of  the  lines 
as  the  type  is  lifted  from  the  stick.  Place  it  in  a 
corner  of  the  galley  so  that  it  rests  against  the 
left  side  of  the  galley,  and  with  the  first  line  of 
type  next  to  the  closed  end  of  the  galley. 

48581 


38 


DIRECTIONS   FOR   COiMPOSITION  39 

13.  Tie  up  your  work  (Fig.  20)  at  the  end  of  each 
lesson  in  the  following  manner :  First  moisten  the 
type  with  water.  This  will  not  injure  the  type,  but 
will  cause  it  to  stick  together.  When  you  have 
become  skillful  in  handling  type,  omit  wetting  it. 
Make  a  knot  in  one  end  of  a  piece  of  cord  long 
enough  to  pass  around  the  type  from  six  to  ten 
times.  Place  the  knot  next  the  right  end  of  the 
last  line  set,  holding  it  in  place  with  the  left  hand 
until  you  have  wound  the  cord  from  left  to  right 
to  the  starting  point,  then  bind  the  knot  in  place 
by  crossing  it.  Then  move  the  type  out  of  the 
corner  and  continue  winding  in  even  layers  until 
you  reach  the  end  of  the  cord.  Cross  the  knot 
each  time  and  be  sure  that  the  cord  passes  in  the 
middle  of  the  body,  or  shank,  and  is  drawn  firmly 
and  evenly.  Fasten  the  cord  by  forming  a  loop 
near  the  end  and  pushing  this  loop  down  in 
between  the  type  and  the  binding  cord.  Use 
a  composing  rule  to  push  the  loop  down.  Draw 
the  loop  to  the  end  of  the  type  line,  leaving  about 
an  inch  of  the  end  of  the  cord  sticking  out.  To 
untie,  pull  this  end  and  gently  unwind.  When 
you  have  untied  a  job,  fold  the  cord  and  save  it. 

14.  If  you  should  pi  your  work,  set  it  up  in  the 
stick  and  distribute  it  immediately.  Never  leave 
pi  in  your  galley  or  on  the  imposing  stone.  If  any 
type  is  dropped  upon  the  floor,  pick  it  up  at  once 
and  put  it  in  its  proper  place. 


40  THE    SCHOOL    PRINTSHOP 

15.  Proofs  must  be  taken  on  the  imposing  stone 
if  you  have  oot  a  proof  press.  Do  not  take  a  proof 
until  you  think  your  work  is  correct.  Then  see 
that  your  type  is  on  its  feet  and  tied  securely. 
The  ink  should  be  thoroughly  distributed  on  an 
ink  stone  or  on  the  disk  of  the  press.  Roll  the 
brayer  or  roller  over  this  and  then  over  the  type 
form,  touching  it  at  every  point.  If  the  roller 
has  too  much  ink  on  it,  the  proof  will  be  muddy 
and  the  imperfect  letters  not  easily  detected. 
Try  to  take  a  gray  proof.  Dampen  the  proof 
paper  slightly  and  evenly  by  wiping  it  with  a  wet 
sponge.  Carefully  lay  the  paper,  dampened  side 
upward,  on  the  type.     With  the  left  hand  place 


Fig.  21.     Mallet 


Coiirles]/  of  Ameriran  Ti/pr  Founders  Company 

Fig.  22.     Proof- planer 


the  proof-planer  (Fig.  22)  on  top  of  the  type  and 
hold  it  steady.     Grasp  the  mallet  (Fig.  21)  with 


DIRECTIONS   FOR   COMPOSITION  41 

the  right  hand  and  strike  quickly  and  firmly  a 
perpendicular  blow  in  the  middle  of  the  planer. 
A  .steadier  blow  may  be  struck  with  the  end  of 
the  handle  than  with  the  mallet.  Lift  the  paper 
easily  from  the  type.  Or,  if  you  have  a  proof 
press,  run  the  roller  over  the  proof  paper. 

16.  Clean  your  type  as  soon  as  the  proof  is 
taken.  Wash  it  with  a  brush  wet  with  benzine  or 
gasoline,  and  wipe  it  with  a  soft  cloth. 

17.  Compare  your  proof  with  your  copy. 
Mark  in  the  margin  every  deviation  from  copy, 
using  the  proofreader's  accepted  marks  (page  42). 

18.  If  there  are  mistakes  in  your  work,  make 
the  necessary  changes.  In  correcting  a  line  raise 
it  by  an  upward  pressure  of  the  ends  until  the 
wrong  letter  or  letters  can  be  lifted  out  by  the 
thumb  and  finger.  Do  not  use  anything  but  your 
hands  in  working  with  type.  If  the  spacing  must 
be  changed,  either  compute  the  space  mathe- 
matically or  use  the  stick  and  rejustify  the  line. 

19.  At  the  close  of  the  lesson  return  to  its  proper 
place  everything  you  have  used. 

20.  Leave  your  work  in  your  own  galley  in  the 
galley  rack. 

21.  See  that  your  name  is  on  your  copy.  Mark 
on  it  the  length  of  line  and  the  size  and  style  of 
the  type  you  are  using.  Indicate  on  your  copy 
just  where  you  have  left  off.  Leave  your  copy  on 
its  proper  hook. 


PROOFREADER'S   MARKS 


Marginal   Mark 

lo. 

Axryyiy 

X 

D 

L 

_J 
I \ 


-/ 
® 


Corresponding  Mark  in   Proof 

Make  this  mark 

Make  this  mark 

Make  /his  mark 

Make  ihxs  mark 

Make  this  mark 

Make  this  mark 

Make  this  rt{ark 

Make  thi|)mark 

Make  this  mark^ 

Make  t+m-  mark 

Makethis  mark 
A 

^lak'^e  this  mark 

J 
Make     this^mark 
A 

Make  thisBmark 


.Make  this  mark 
L-Make  this  mark 

M^ke  this  mark 
kake  1-liis  mark 
^l£]ia  this  mark 
11  Make  fhTs  mark 
Make  this  mark , 


Make  this  mark 
Make  this  mark. 


A 


Mcanin? 

Set  in  capitals 
Set  in  small  raps 
Set  in  lower  case 
Set  in  roman 
Set  in  italic 
Set  in  hold  face 
Wrong  font 
Imperfect  type- 
Delete — take  out 
Slet  or  restore 
Put  ill  space 
Close  up  space 
Equalize  space 
Push  down  space 
Indent  one  em 
Move  to  left 
Mote  to  right 
Raise 
Lower 

Straighten  alignment 
Insert  period 
Insert  comma 
Insert  apostrophe 


Hyphenate  well  being       Insert  hyphen 


.Make  this  mark 
\ 

Make  tj(is  mark 
M ake (mark  (this  . 
Make  mark 


Paragraph 
Invert 
Transpose 
Query  to  author 


42 


CHAPTER   V 
PROOFREADING 

Notwithstanding  the  careful  examination  of 
each  Hne  of  type  when  it  has  been  set  in  the  stick, 
mistakes  do  occur  in  the  work.  When  the  type 
has  been  put  into  the  galley,  the  compositor  should 
again  read  it  over,  making  any  corrections  he  finds 
necessary.  This  trains  his  eye  to  see  mistakes 
in  the  type  and  helps  him  to  secure  clean  proofs. 

When  the  setting-up  is  completed,  a  proof 
should  be  taken  with  a  proof-planer  or  on  a  proof 
press.    (See  "  Directions  for  Composition,"  No.  15.) 

This  proof  should  be  carefully  read  and  all 
mistakes  marked  in  the  margin.  If  more  than 
one  mistake  occurs  in  the  same  line,  the  marks 
should  appear  in  consecutive  order  in  the  margin 
and  on  the  same  level  as  the  line  of  type.  Proof- 
readers do  not  wholly  agree  in  regard  to  the 
formation  of  all  marks,  but  if  the  list  here  given 
is  understood,  minor  deviations  from  it  will  be 
intelligible. 

The  compositor  is  expected  to  follow  the  copy, 
and  in  most  printshops  he  is  held  responsible  for 
any  divergence  from  it.    Hence  corrections  marked 

43 


44  THE  SCHOOL   PRINTSHOP 

on  the  first  proof  are  made  by  the  compositor 
before  a  proof  is  sent  to  the  author. 

The  type  to  be  corrected  should  be  placed  in  a 
galley  and  the  string  removed.  The  correcting 
should  begin  with  the  first  line  and  continue  in 
regular  order. 

No  tools  of  any  kind  are  needed  in  making  cor- 
rections. If  the  changes  to  be  made  affect  the 
spacing,  put  the  line  in  the  stick,  make  the  correc- 
tions, and  rejustify  the  line. 

If  the  correction  involves  only  the  substitution 
of  one  letter  for  another  of  equal  width,  it  may  be 
done  in  the  galley.  Lift  the  line  in  which  the 
mistake  occurs  about  a  pica  above  the  rest  of  the 
lines  by  pressing  on  the  ends  of  the  line  with  the 
second  fingers;  then  take  out  the  wrong  letter  with 
the  thumb  and  first  finger  of  the  right  hand,  lower 
the  type,  and  insert  the  proper  letter. 

When  all  the  corrections  have  been  made,  a 
second  proof  may  be  taken.  This  is  necessary 
if  mistakes  are  numerous  and  if  outs  and  doub- 
lets occur  which  require  the  running-over  of  the 
paragraph.  This  second  proof,  called  a  revise, 
should  be  compared  with  the  first  proof.  If  the 
compositor  has  not  made  all  the  marked  correc- 
tions, if  he  has  made  other  mistakes,  or  if  lines 
have  been  transposed,  he  again  corrects  his  work. 
When  his  proof  is  correct  to  copy,  it  is  sent  to  the 
author. 


CHAPTER  VI 
LOCKING  UP 

When  the  page  or  job  has  been  spaced  out  to 
the  required  length  and  tied  up  in  a  proper  man- 
ner, it  is  taken  to  the  imposing  stone  to  be  locked 
up  preparatory  to  putting  it  in  the  press.  The 
imposing  stone  is  a  large,  flat  stone  (although 
sometimes  an  iron  surface  is  used  instead  of  a 
stone)  mounted  upon  a  frame  or  cabinet  usually  a 
little  higher  than  the  ordinary  table.    (vSee  Fig.  23.) 

The  page  or  job  is  laid  on  the  imposing  surface 
with  the  top  of  the  type  at  the  left  hand  of  the 
stoneman,  unless  the  page  or  job  is  set  in  a  measure 
wider  than  its  length,  in  which  case  the  top  of 
the  type  is  turned  toward  the  body  of  the  stone- 
man.  With  the  type  in  either  of  these  positions 
the  impression  taken  on  the  press  is  easily  read. 
An  iron  frame  called  a  chase  is  then  put  around 
the  type,  which  should  be  directly  in  the  center 
of  the  chase  from  right  to  left,  but  a  trifle  below 
the  center  between  the  top  and  the  bottom. 
Placing  the  type  below  the  center  of  the  chase 
prevents  undue  strain  on  the  press.  The  bottom 
of  the  chase  is  that  part  nearest  to  the  body  of  the 

45 


46 


LOCKING   UP 


47 


stoneman.  The  space  between  the  type  and  the 
left  side  of  the  chase  and  that  between  the  type 
and  the  bottom  of  the  chase  is  then  completely 
filled  with  wooden  furniture.  The  remaining 
space,  namely,  that  between  the  type  and  the 
right  side  of  the  chase  and  that  between  the  type 
and  the  top  of  the  chase,  is  also  filled  in  with 


C'ourlesi/  of  American  Type  Founders  Company 

Fig.  24.     Quoin  and  quoin  key 

wooden  furniture,  but  there  should  be  left  a  space 
large  enough  for  the  quoins  (Fig.  24)  and  a  6-point 
reglet  on  each  side  of  the  quoins.  The  object  of  this 
arrangement  is  to  bring  the  quoins  on  the  side  and 
end  opposite  the  feed  gauges,  an  advantage  if  the 
form  is  unlocked  during  the  work. 

Since  the  lengths  of  labor-saving  wooden  furni- 
ture are  multiples  of  ems,  the  pieces  of  furniture 
when  longer  than  the  type  must  overlap  so  that 
they  do  not  bind.  This  can  be  accomplished  by 
placing  at  either  side  pieces  of  furniture  slightly 


-A 


Fig.  25.     A  locked  chase  with  type  in  place 
A,  wooden  furniture;  B,  reglets;  C,  quoins 


48 


LOCKING  UP  49 

longer  than  the  type  form,  the  ends  extending  one 
toward  the  left,  the  other  toward  the  right.  The 
end  furniture  should  be  selected  and  placed  in  a 
similar  way.  So  arranged,  the  furniture  gives  as 
the  quoins  move.  The  remaining  pieces  should  be 
of  the  same  length  as  or  of  greater  length  than  the 
ones  already  in  position.  Quoins  should  be  placed 
one  piece  of  furniture  removed  from  the  type  on 
the  right  of  the  chase,  and  similarly  between  the 
type  and  the  top  of  the  chase.  The  quoins  should 
be  so  placed  that  the  wedges  next  to  the  type 
point  toward  the  left  and  the  bottom  of  the  chase, 
respectively.  Reglets  should  be  put  on  each  side 
of  the  quoins  so  that  when  the  quoins  are  forced 
together  their  sliding  will  not  damage  the  wooden 
furniture.  (See  Fig.  25,  page  48.)  After  the 
wooden  furniture  has  been  placed  on  all  four  sides 
of  the  type,  the  string  should  be  removed  from 
the  type  and  the  quoins  slightly  tightened  with 
the  fingers. 

Then  plane  the  form  lightly  in  order  to  make 
sure  that  all  the  type  is  on  its  feet.  The  wooden 
planer  is  laid  gently  on  the  type  and  tapped  with 
a  mallet  to  force  down  such  pieces  of  type  as  may 
extend  above  the  others.  The  quoins  are  then 
turned  with  the  quoin  key,  one  after  another, 
beginning  with  those  quoins  which  are  placed 
parallel  to  the  leads.  Turn  the  key  until  enough 
pressure  is  secured  to  hold  the  entire  form  firmly 


50  THE   SCHOOL   PRINTSHOP 

together  when  it  is  Hftcd  from  the  imposing  stone. 
If  too  much  pressure  be  applied,  it  will  cause  the 
form  to  spring  or  will  break  the  chase.  Test  by 
lifting  one  side  of  the  chase  and  shaking  it  gently. 
Test  further  by  pressing  the  type  with  the  fingers. 
The  locking-up  process  is  a  measure  of  the  com- 
positor's work,  for  uneven  justification  may  result 
in  the  pulling  out  of  the  type  while  it  is  on  the 
press,  causing  spoilage  and  delay.  If  the  form 
holds,  it  is  ready  for  the  press. 


CHAPTER   VII 
IMPOSITION 

A  form  may  consist  of  a  single  page  or  of  a  num- 
ber of  pages.  The  proper  placing  on  the  stone 
and  the  arranging  of  these  pages  in  the  chase  is 
called  imposition. 

All  forms  of  imposition  may  be  best  understood 
by  paper  folding.  In  the  case  of  a  folio  the  process 
is  simple.  Fold  a  sheet  of  paper  once  lengthwise, 
and  without  cutting  the  fold  number  the  pages. 
Open  the  paper  and  you  will  find  pages  1  and 
4,  the  first  and  the  last,  on  the  outside  and  pages 
2  and  3  on  the  inside  of  the  sheet. 

The  outside  pages,  1  and  4,  may  be  locked  in 
one  chase  and  the  inside  pages,  2  and  3,  may  be 
locked  in  another.  The  first  page  is  placed  on 
the  stone  at  the  right,  the  fourth  page  at  the  left. 
The  second  page  is  placed  on  the  stone  at  the 
left,  and  the  third  page  at  the  right  (Fig.  26). 
The  head  of  the  page  should  always  be  toward 
the  stoneman. 

The  printed  folder  is  called  a  sheet,  and  this 
manner  of  printing  is  spoken  of  as  sheetwise. 
Printing  sheetwise  requires  double  the  presswork 
5  51 


52 


THE   SCHOOL   PRINTSHOP 


that  would  be  required  if  the  matter  were  run  in 
a  four-page  form,  but  it  is  often  necessary  when 
the  press  is  small. 


a.  Inside  section  of  folio 


b.  Outside  section 
4  occupies  place  of  2,  and  1  occupies  place  of  3. 

Fig.  26.     Method  of  placing  pages  on  stone  to  print  folio  sheetwise 

Another  scheme  of  imposition  is,  if  the  chase  and 
press  are  large  enough,  to  place  the  four  pages  in 
one  form.  After  the  paper  has  been  printed  on 
one  side,  the  sheet  is  turned  "end  for  end"  and 
printed  on  the  opposite  side.  When  printed,  page 
1  is  on  the  back  of  page  2  and  page  4  is  on  the 
back  of  page  3  (Fig.  27).  The  paper  is  then  cut 
in  halves  crosswise,  which  gives  this  manner  of 
imposing  the  name  of  half-sheet  imposition,  and 
the  form  is  called  a  "  work-and-turn  "  form.     This 


IMPOSITION 


53 


method  saves  presswork  and  permits  an  accurate 
register.  When  a  "work-and-turn"  sheet  is  cut 
in  two,  there  are  two  folders  as  a  result  of  the 
sheet  going  through  the  press  twice.  When  the 
sheetwise  method  is  used,  the  two  runs  through 
the  press  result  in  only  one  folder.  With  either 
method,  sufficient  time  for  drying  should  be 
allowed  before  "backing  up"  is  begun,  or  the 
ink  will  be  smeared  on  the  page. 


Fig.  27.     Arrangement  on  stone  of  pages  of  a  folio  for  half-sheet 
imposition — a  "ivork-and-turn"  form 


An  imposition  of  eight  pages  is  based  upon  the 
same  principle  as  is  that  of  four  pages.  Make  a 
quarto  by  folding  a  sheet  of  paper  first  lengthwise, 
then  crosswise.  Number  the  eight  pages  and  open 
the  paper  as  before.  Note  carefully  the  pages  that 
must  be  printed  in  pairs.  In  the  quarto,  as  in  the 
folio,  there  are  an  outside  and  an  inside  section. 


54 


THE   vSCHOOL    PRINTvSHOP 


The  diagram  (Fig.  28)  shows  the  order  of  an 
eight-page  "  work-and-turn "  form  imposition  for 
printing  either  sheetwise  or  half-sheet.  It  may  be 
printed  as  the  foHo  is  printed. 


1 

8 

i 

/ 

9 

1 

1 
1 

Fig.  28.     Arrangement  of  pages  in  an  eight-page  form  for  either 
sheetwise  or  half -sheet  imposition 

Fig.  30  shows  a  simple  method  of  determining 
the  proper  arrangement  of  the  pages  on  the  stone 

* 10 >  — J  — 


8 


5- 


Fig.  29.     Shoiving  nuihod  of  folding  paper 


for  an  eight-page  "work-and-turn"  form.     Fold  a 
sheet  of  paper   as  indicated  in  Fig.  29.     Mark 


IMPOSITION 


55 


folio  1  on  the  inside  of  the  first  page  —  what 
would  really  be  page  2  of  a  printed  folder. 
Then  mark  folio  2  on  what  would  be  page  3. 
Skip  the  next  two  pages  and  mark  folios  3  and  4 
on  the  next  two.  Skip  the  next  two  and  mark 
folios  5  and  6  on  the  next  two  following.  Skip 
the  next  two  and  mark  folios  7  and  8  on  the  two 
following  pages.  After  marking  the  first  four 
folios  slit  the  lower  corners  of  the  rest  so  that 
you  may  mark  them  easily.  Unfold  the  sheet 
and  you  w411  find  that  the  proper  position  for  the 
folios  is  shown. 


Skip  two 
Number  these  two 

Number  these  two 


Sk,p  these Cno    ''iresV'c'-,    SUp  these  i^o 


Fig.  30.     Method  of  numhering  pages  to  determine  proper 
arrangement  of  pages  in  a  form 

Sheets  as  large  as  one  hundred  twenty-eight 
pages  may  be  imposed  to  be  printed  together  on 
the  large  cylinder  presses,  but  in  bookwork  not 
more  than  eight  pages  of  thick  paper  or  sixteen 
pages  of  paper  of  medium  thickness  are  printed 
to  be  folded  together.     (The  manner  of  folding, 


56 


THE  SCHOOL  PRINTSHOP 


hand  or  machine,  also  influences  the  imposition.) 
Sixteen  pages  (Fig.  31),  sixty-four  pages,  or  one  hun- 


FiG.  31.     Arrangetnetit  of  pages  in  a  sixteen-page  form  on  stone 

dred  twenty-eight  pages  are  imposed  on  the  same 
principle  as  that  shown  in  the  folio  and  quarto. 


IMPOSITION  57 

Fold  paper  to  sixteen  pages  and  compare  the 
relative  position  of  the  mated  pages  (beginning 
with  the  first  and  the  last)  with  those  of  the  quarto. 

Many  stonemen  determine  the  outside  and 
inside  sections  by  beginning  with  two  and  cancel- 
ing every  alternate  pair  of  pages.  As  this  indi- 
cates, page  1  is  always  on  the  outside  section  and 
page  2  always  on  the  inside  section. 


4  Pages 

8  Pages 

16  Pages 

l^-^4 

1^^4  SMT^S 

1  +  16  =  17 
13+  4  =  17 

1+4  =  5 

1+8  =  9 

5  +  12  =  17 

2+3  =  5 

2  +  7  =  9 

8+  9  =  17 

3+6  =  9 

7  +  10  =  17 

4+5  =  9 

11+  6  =  17 
3  +  14  =  17 

15+     2:^=17 

A  method  of  checking  is  to  add  the  page  num- 
bers of  any  pair  of  pages.  The  sum  is  always  one 
greater  than  the  whole  number  of  pages  in  the 
section. 

In  locking  two  or  more  pages  in  the  same  form 
the  stoneman  must  so  arrange  the  furniture  as  to 
give  the  printed  page  the  proper  margins.  He 
should  know  exactly  what  the  head,  back,  front, 
and  tail  margins  are  to  be  and  should  make  up 
the  form  to  fit  the  paper.  If  the  book  is  to  be 
trimmed,  the  stoneman  must  allow  for  trimming. 
The  usual  allowance  on  an  octavo  for  waste  is 
one-eighth  inch  for  the  head,  one-fourth  inch  for 
the  front,  and  three-eighths  inch  for  the  tail. 


Courtesy  of  UiJG  ChaJidler  i&  Fru 

Pig.  32.     A  job  press 


a,  rollers;  h,  ink  plate;   c,  throw-off  or  trip;   d,  stock  board;   e,  feed   board; 

/,  platen;  g,  bed;  h,  pulley  wheels;  i,  large  cam  wheel;  j,  small 

cam  wheel;  k,  right  and  left  roller  frames;  I,  fly-wheel; 

m,  rocker  lock;  it,  treadle*  o,  belt  shifter 


58 


CHAPTER  VIII 
THE  PRESS 

The  press  should  be  kept  clean  and  should  be 
oiled  once  each  week.  A  little  oil,  but  not  enough 
to  run  out  on  the  machinery,  should  be  put  into 
each  hole.  The  machinery  should  be  wiped  and 
examined  weekly  to  see  that  all  nuts  and  bolts  are 
tight.  The  rollers  should  not  be  left  dry.  Each 
night  a  little  machine  oil  should  be  put  on  the 
disk  and  the  rollers  run  over  it.  In  the  morning 
wipe  clean  with  a  cloth  wet  with  kerosene. 

Put  the  ink  on  the  extreme  left  hand  of  the  disk, 
squeezing  a  very  little  from  the  tube  or,  if  it  is 
kept  in  cans,  putting  it  on  with  an  ink  knife.  The 
ink  should  be  thoroughly  distributed  upon  the 
disk  and  rollers  before  the  form  is  placed  in  the 
press.  If  the  runs  are  large,  an  ink  fountain 
should  be  attached  to  the  press  and  the  ink  thus 
distributed.     (Fig.  32  shows  parts  of  press.) 

The  platen  must  be  covered  with  a  paper  cover- 
ing called  the  tympan,  the  number  of  sheets  vary- 
ing inversely  with  the  area  of  the  printing  surface. 
For  a  Gordon  press  an  average  tympan  for  a  full 
form  of  type  consists  of  one  sheet  of  hard  press- 
board   and    from   three   to   five   sheets   of   print 

59 


\ 


60  THE  SCHOOL  PRINTSHOP 

paper  covered  by  a  manila  top  sheet ;  or,  omitting 
the  print  paper,  use  three  or  four  manila  sheets  on 
top  of  the  pressboard.  A  small  form  requires 
less  tympan.  It  is  better,  when  taking  the  first 
impression,  to  have  a  light  tympan,  as  a  strong 
impression  is  not  so  good  a  guide  for  making  ready 
as  a  light  one.  It  is  a  good  plan  to  start  with  a 
light  impression  and  add  tympan  until  you  get 
sufficient  impression. 

When  the  form  has  been  put  upon  the  press, 
the  grippers  should  be  adjusted  immediately  so 
that  they  are  clear  of  the  form.  If  too  close,  they 
may  be  moved  outward  from  the  center  or  even 
removed  from  the  press  when  necessary. 

Next  a  press  proof  should  be  taken  and  care- 
fully examined,  not  only  for  typographical  errors, 
but  for  defective  type,  improper  planing,  and  other 
oversights.  The  proof  should  be  taken  on  clean 
paper  of  the  stock  to  be  used.  An  examination 
of  the  back  of  the  impression  will  indicate  whether 
to  add  or  subtract  from  the  amount  of  print  paper 
used  as  packing. 

The  printing  press  is  so  constructed  as  to  give 
an  even  impression  on  every  part  of  the  printing 
surface.  But  this  can  be  done  only  when  all  parts 
of  the  form  resist  pressure  equally.  If  the  form 
is  solid  type  and  the  type  is  not  worn,  or  else  is 
worn  evenly,  the  resistance  is  uniform.  If  the 
form  contains  type,  cuts,  and  blank  spaces,  the 


THE   PRESS  61 

resistance  is  not  equal.  The  cuts  may  not  be 
exactly  type-high,  since  the  mount  is  not  always 
of  uniform  thickness.  These  defects  may  be 
remedied  by  underlaying,  which  consists  of  put- 
ting paper  of  varying  thickness  behind  parts  of 
the  form  to  bring  the  whole  form  up  to  the  same 
level. 

The  resistance  of  a  cut  varies  with  its  character. 
A  soHd  black  cut  resists  more  than  the  type  does, 
an  outline  cut  resists  less,  while  the  blank  spaces 
in  the  form  offer  no  resistance.  Cuts  with  con- 
trasts of  light  and  shade  resist  more  in  the  dark 
portions  than  they  do  in  the  light  parts.  When  a 
form  is  made  up  of  parts  which  differ  in  resistance, 
this  difference  must  be  equalized  by  a  correspond- 
ing difference  in  the  pressure  applied.  This  is 
secured  by  an  overlay,  as  the  process  of  pasting 
bits  of  paper  on  the  tympan  is  called.  In  taking 
an  impression  for  an  overlay,  it  is  better  to  loosen 
the  top  sheets  from  the  bottom  bale,  throw  them 
back,  and  print  on  the  bottom  tympan  sheet. 
The  overlay  should  then  be  carefully  cut  and 
pasted  where  it  is  needed  over  the  impression  on 
the  bottom  sheet.  Overlaying  is  a  delicate  oper- 
ation that  requires  time,  but  it  is  time  well  spent. 

The  feed  gauges  should  be  placed  on  the  top 
sheet  of  the  tympan.  The  width  of  the  margins 
should  first  be  decided  upon  and  then  the  exact 
distances  from  the  top  and  from  the  lower  side 


G2 


THE    SCHOOL    PRINTSHOP 


of  the  impression  measured  and  marked  by  points. 
Then  Hnes  should  be  drawn  through  these  points, 
one  parallel  to  the  lines  of  the  print  and  the  other 
at  right  angles  to  them.  The  following  is  an  easy, 
accurate  method  of  drawing  these  lines:  Place 
one  side  of  a  mechanical  draftsman's  triangle 
under  the  top  line  of  the  print  in  such  a  position 
that  the  other  side  of  the  triangle  cuts  the  point 
marked  below  the  lower  side  of  the  impression. 


Fig.  33.     The  guide  pins  in  position 

.1 ,  guide  pins;   B,  tympan  bales;   C,  press-board;  D,  tympan  sheet; 
E,  projecting  edge  of  platen 

Draw  a  line  through  this  point,  extending  it  long 
enough  for  as  many  guide  pins  as  are  necessary. 
Then,  with  the  line  just  drawn  as  a  base,  draw  the 
other  line  at  right  angles  to  the  first  line  and 
running  through  the  other  point.  The  guide  pins 
can  then  be  set  on  these  lines  in  the  exact  position 
at  the  first  try.  There  is  no  guesswork  about  it. 
(See  Fig.  33.)  Spring  gauge  pins  are  the  best  kind 
to  use,  as  they  never  slip  out  or  become  loose. 

The  impression  should  be  carefully  washed  from 
the  tympan  before  one  begins  to  feed.     In  feeding, 


Fig.  34.     Correct  method  of  holding  paper  in  feeding  the  press 


63 


64  THE   SCHOOL   PRINTSHOP 

place  the  sheet  on  the  tympan  so  that  the  side  and 
the  top  touch  the  respective  guides  (Fig.  34).  If 
not  skillful  enough  to  do  this  directly,  feed  to  the 
bottom  gauges  and  slide  to  the  end  gauge.  Put 
the  paper  in  with  the  right  hand  as  the  platen 
opens  and  take  it  out  with  the  left  hand.  Work 
for  a  steady,  direct  movement  in  unison  with  the 
press.  Have  the  motor  adjusted  to  the  rate  of 
speed  at  which  you  can  feed  without  feeling  hur- 
ried, and  use  the  throw-off  lever  only  when  it  is 
necessary. 

When  the  form  has  been  printed,  lift  it  from  the 
press,  wash  the  type  in  benzine  or  gasoline,  using 
first  a  soft  brush  and  then  wiping  dry  with  a 
cloth.  Then  unlock  the  form  and  place  the  type 
in  a  galley.  Washing  with  benzine  or  gasoline 
does  not  clean  the  type  well;  it  is  therefore  better 
to  wash  it  in  a  weak  lye  solution  before  it  is  dis- 
tributed. Use  a  lye  brush  with  a  handle  and  leave 
the  form  under  running  water  until  all  the  lye 
water  has  been  washed  out. 

When  washing  the  press  wash  the  disk  first. 
Use  waste,  pouring  kerosene  directly  on  the  disk. 
Move  the  rollers  up  to  the  edge  of  the  disk  and 
wash  first  the  top  one,  then  the  others,  with  a 
cloth  wet  with  kerosene.  End  by  going  over  the 
disk  after  the  rollers  have  been  thoroughly  cleaned. 
Do  not  leave  the  rollers  on  the  disk  when  the  press 
is  not  in  motion.  ^ 


THE   PRESS  65 

Heat  and  humidity  cause  the  roller  composition 
to  soften,  and  the  surface  then  does  not  take  the 
ink  evenly.  This  difficulty  may  be  obviated  by 
the  use  in  warm  weather  of  summer  rollers,  which 
contain  more  glue  than  winter  rollers  and  so  are 
harder  and  tend  less  to  become  soft  and  sticky. 


Fio.  35.      Correct  method  of  dropping  letters  in  distribution 


06 


CHAPTER    IX 
THE  DISTRIBUTION  OF  TYPE 

When  the  form  has  been  printed,  it  is  spoken 
of  as  "dead,"  and  the  t^^-pe  should  be  carefuhy 
washed  and  put  back  into  the  case.  The  process 
of  returning  the  type  to  its  proper  compartments 
in  the  case  is  called  distribution.  No  one  should 
attempt  distribution  who  has  not  acquired  some 
skill  in  handling  type;  in  the  beginning  he  should 
distribute  but  one  line  at  a  time.  With  a  sponge, 
wet  the  type  which  is  to  be  distributed.  Pick  up 
the  line  on  a  slug  or  lead,  hold  it  in  the  left  hand 
with  the  nicks  up,  the  thumb  pressed  against 
one  end  of  the  lead,  the  second  finger  against  the 
other,  while  the  bent  first  finger  supports  the  lead 
in  the  middle.  The  line  is  thus  in  the  same  posi- 
tion as  when  in  a  stick.  Read  the  last  word  in 
the  line  (next  the  second  finger),  at  the  same  time 
taking  it  up  with  the  right  hand.  To  take  up  the 
word,  slide  it  forward  with  the  second  finger,  then 
with  the  first  and  second  fingers  above  and  the 
thumb  below  the  type  lift  it  off  the  lead.  A  slight 
movement  of  the  thumb  and  first  and  second  fin- 
gers (the  type  resting  partly  on  the  third  finger) 


68 


THE   SCHOOL   PRINTSHOP 


will  enable  you  to  drop  the  letters  one  at  a  time, 
each  in  its  proper  box,  without  again  looking  at 


Fig.  36.     Correct  method  of  distributing  type 

the  type  (Fig.  35).  Spell  the  word  in  your  mind 
as  you  go  along. 

Special  attention  should  be  given  to  the  distri- 
bution of  spaces.  They  should  be  carefully  sepa- 
rated and  each  size  put  into  its  own  box.  The 
mixing  of  the  various  sized  spaces  is  a  sure  indica- 
tion of  a  careless  printer. 

When  you  are  able  to  distribute  one  line  with- 
out spilling  the  type,  take  up  two  or  more  lines  at 
one  time.     When  you  have  become  skillful,  take 


THE  DISTRIBUTION   OP  TYPE  69 

up  as  many  as  you  can  hold  in  your  hand,  with  the 
first  word  of  each  Hne  resting  against  the  thumb, 
the  mass  of  type  in  the  hand  supported  by  the  first 
finger  held  back  of  the  type  and  the  bent  second, 
third,  and  fourth  fingers  underneath  the  bottom 
lead  or  slug  (Fig.  36). 

Distribution  should  never  be  hurriedly  or  care- 
lessly done.  It  means  a  ' '  dirty  "  proof  on  the  next 
job  and  time  wasted  in  correcting.  Distribution 
is  partly  a  matter  of  skill,  but  more  largely  a 
matter  of  honesty — a  desire  to  put  the  type  where 
it  belongs. 


CHAPTER   X 
MEASURING 

Composed  type  is  measured  by  the  em,  a  square 
of  the  body  set.  The  measure  or  width  of  any 
page  is  expressed  in  picas.  Leads  and  blanks  are 
measured  as  type. 

To  find  the  number  of  ems  in  composed  type, 
multiply  the  number  of  ems  in  the  width  by  the 
number  of  ems  in  the  length.     Example: 

a)  A  page  of  12-point  type  set  20  picas  wide  measures 
33  picas  in  length.  Find  the  number  of  ems.  Answer: 
33X20  =  GG0ems. 

b)  A  page  of  type  set  in  S-point  is  24  picas  wide  and 
36  picas  long.     How  many  ems? 

Soliilioii: 

1  pica  =  12  points. 
24  picas  =  24X12  points,  or  2SS  points  (number  in 

line). 
An  em  in  this  case  is  8  points. 
In  288  points   (divide  by  8)   there  are  3G  ems 

(width). 
36    picas    (the    length)  =36  X 12    points,    or    432 

points  (in  length). 
In  432  points  there  are  54  ems  in  length.     54X36 

ems  =1944  ems. 

70 


MEASURING  71 

Compositors  in  commercial  shops  sometimes 
work  by  the  piece,  in  which  case  they  are  paid 
according  to  the  number  of  ems  in  the  type  set. 
With  a  type  gauge  they  measure  the  width  and 
length  of  the  type  set  and  compute  the  total  num- 
ber of  ems.  Sometimes  the  length  is  more  than 
an  even  number  of  ems  of  the  size  in  which  it  is 
set.  In  this  case  it  is  customary  to  drop  the  frac- 
tion if  it  is  less  than  half  an  em  and  to  add  one  if 
it  is  as  much  as  or  more  than  one-half  an  em. 

To  find  the  number  of  pages  a  manuscript  will 
make  when  set  in  type,  first  count  the  number  of 
words  on  a  page  which  is  set  in  the  desired  type. 
Divide  the  number  of  words  by  the  number  of 
square  inches  on  the  page.  This  will  give  the 
number  of  words  to  the  square  inch  on  the  page, 
which  is  the  unit  of  measurement. 

Find  next  the  number  of  square  inches  in  the 
type  page  in  which  the  manuscript  is  to  be  printed 
and  multiply  this  by  the  number  of  words  to  the 
square  inch.  The  product  is  the  number  of  words 
to  the  printed  page. 

Then  divide  the  number  of  words  in  the  manu- 
script by  the  number  of  words  to  the  page,  and 
the  result  will  be  approximately  the  number  of 
pages  required  to  set  the  manuscript. 

It  is  frequently  necessary  to  know  the  number 
of  pounds  of  type  needed  to  set  some  job.  It  has 
been  estimated  that  type  which  weighs  one-fourth 


72  THE   SCHOOL   PRINTSHOP 

of  a  pound  will  set  one  square  inch.  To  find, 
then,  the  quantity  of  type  required  for  a  given 
page,  multiply  the  number  of  square  inches  on 
the  page  by  one-fourth.  The  following  "rule-of- 
thumb"  is  sometimes  used  for  this  purpose: 
Divide  the  number  of  square  inches  in  the  page 
by  four.  The  result  is  approximately  the  number 
of  pounds  of  type  needed  to  set  the  page. 

Tables  have  been  made  showing  the  approxi- 
mate number  of  words  to  the  square  inch  when 
type  is  set  solid  and  when  it  is  set  leaded. 

Number  of  Words  to  the  Square  Inch 

8-point,  solid 32 

8-point,  leaded 23 

10-point,  solid 21 

10-point,  leaded 16 

11-point,  solid 17 

11-point,  leaded 14 

12-point,  solid 14 

12-point,  leaded 11 

14-point,  solid  ........  11 

14-point,  leaded 9 

18-point,  solid 7 

18-point,  leaded 5 


CHAPTER  XI 
ENGLISH 

A.    PUNCTUATION 

Many  writers  rely  upon  their  printers  for  tech- 
nical correctness  in  such  details  as  spelling,  punc- 
tuation, and  capitalization,  and  readers  generally 
ascribe  any  mistakes  they  find  in  these  matters 
to  careless  typesetting  and  proofreading.  For 
these  reasons  the  printer  must  be  prepared  to  avoid 
mistakes  himself  and  to  correct  those  of  others. 

Printshops  differ  in  their  ways  of  doing  things, 
but  each  shop  has  for  its  own  guidance  a  con- 
sistent plan  of  work.  The  following  fundamental 
rules  may  be  safely  followed  in  the  school  print- 
shop.  They  do  not  cover  all  questions  of  typo- 
graphic style  that  will  arise,  but  they  are  the 
rules  most  frequently  needed  and  are  based  upon 
standard  practice.  They  are  grouped  together 
for  reference. 

Period 

1.  Use  a  period  at  the  end  of  a  declarative  or 

imperative  sentence: 

The  year  contains  twelve  months. 
Do  your  work  neatly. 

73 


74  THE  SCHOOL  PRINTSHOP 

2.  Use  a  period  after  abbreviations : 
Dr.  Mr.  Mrs. 

Note.  A  period  is  not  required  after  run- 
ning heads,  centered  titles,  date  lines  at  the  top 
of  letters,  address  lines  at  the  end  of  articles, 
Roman  numerals  when  standing  alone,  chemical 
symbols,  or  signatures.  It  may  be  used  after 
Arabic  figures  in  the  numbering  of  paragraphs. 

Interrogation  Point 

Use  an  interrogation  point  at  the  end  of  an 
interrogative  sentence : 

What  time  is  it?     Who  goes  there? 

Note.     An  interrogation  point  is  not  required 
after  a  question  that  is  really  a  request : 
Will  you  please  close  the  door. 

Note.  A  question  within  a  declarative  sentence 
retains  the  question  mark : 

The  question,  What  became  of  it?  was  never  answered. 
The  two  basic  questions  are:  first.  What  do  we  desire? 
second,  How  shall  we  attain  our  end? 

Exclamation  Point 

Use  an  exclamation  point  at  the  end  of  an 
exclamatory  word,  phrase,  or  sentence : 

Phew! 

What  kindness! 

Give  me  liberty  or  give  me  death! 


ENGLISH  75 

Comma 

1.  Use  a  comma  to  indicate  slight  pauses  in 
thought,  and  wherever  clearness  requires  it.  The 
following  sentences  illustrate  the  necessity  of  the 
comma : 

While  he  watched,  a  beggar  passed  by. 

What  we  saw,  proved  the  case. 

As  you  know,  the  earth  turns  on  its  axis  once  a  day. 

The  night  before,  he  had  said  that  there  was  no  danger. 

As  I  was  passing,  the  house  burst  into  flames. 

Caution.  Never  separate  the  parts  of  a  sen- 
tence that  belong  together  and  are  in  their  natural 
order;  as:  subject  and  predicate;  predicate  and 
complement;  adjective  and  noun;  adverb  and 
adjective. 

2.  Set  off  by  commas  all  parenthetical  elements: 

a)  Appositives: 

WiUiam  INIorris,  the  greatest  art  printer  of  modern 
times,  was  also  a  poet. 

b)  Non-restrictive  adjective  clauses,  that  is, 
adjective  clauses  that  can  be  omitted  and  leave  the 
sentence  complete: 

The  School  of  Education,  which  I  attend,  is  situated 
on  the  Midway. 

The  heights,  which  were  at  some  distance  from  the 
town,  also  were  captured. 

(Commas  are  always  to  be  used  in  pairs  in  the 
case  of  non-restrictive  clauses.) 


76  THE  SCHOOL  PRINTSHOP 

Note.  A  restrictive  adjective  clause,  that  is, 
one  that  is  essential  to  the  meaning,  should  never 
be  set  off  by  commas: 

The  heights  which  we  stormed  were  finally  captured. 

3.  Set  off  by  commas  words  of  direct  address: 
Henry,  where  are  you  going? 

When  you  come,  Jane,  we  will  weed  the  garden. 

4.  Set  off  by  commas  absolute  and  participial 
phrases : 

The  mail  having  come,  we  began  to  read  our  letters. 
Being  tired,  he  went  home. 

5.  Set  off  by  commas  the  words  "yes"  and 
"no"  when  they  are  part  of  the  answer  to  a 
question : 

Will  you  come?    No,  I  cannot. 

6.  Use  a  comma  to  separate  the  terms  of  a 
series,  whether  words,  phrases,  or  clauses,  where 
no  conjunctions  are  used  or  where  one  conjunction 
is  used  to  join  the  last  two  terms : 

I  came,  I  saw,  I  conquered. 
We  had  cake,  candy,  and  fruit. 

The  smoke  was  rising,  the  trees  were  crackling,  and 
the  forest  fire  was  well  under  way. 

7.  Use  a  comma  to  separate  coordinate  clauses 
when  they  are  joined  by  a  simple  conjunction: 

No  rule  can  be  framed  to  cover  all  cases,  but  the  under- 
lying principle  is  clear. 

Remove  the  clause,  and  the  sentence  is  meaningless. 


ENGLISH  77 

8.  Use  a  comma  after  a  dependent  clause  which 
precedes  the  principal  clause: 

When  the  day  came,  we  carried  out  our  plan. 

9.  Use  a  comma  to  separate  the  parts  of  a  date 
or  of  an  address: 

January  27,  1916 
CracAGO,  Illinois 
June  7,  1916 

10.  Use  a  comma  after  "alas"  and  "oh"  in 
sentences  like  the  following : 

Alas,  we  all  suffer. 
Oh,  help  the  lady! 

Do  not  use  a  comma  after  the  vocative  "O": 
"0  world!  Olife!  Otime!" 

Semicolon 

1.  A  semicolon  is  used  (a)  sometimes  like  a 
large  comma  and  (b)  sometimes  like  a  small  period : 

a)  The  schoolhouse,  being  deserted,  soon  fell  into 
decay,  and  was  reported  to  be  haunted  by  the  ghost  of 
the  unfortunate  pedagogue;  and  the  plowboy,  loitering 
homeward  of  a  still  summer  evening,  has  often  fancied 
his  voice  at  a  distance,  chanting  a  melancholy  psalm  tune 
among  the  tranquil  solitudes  of  Sleepy  Hollow. — Irving 

b)  To  err  is  human;  to  forgive,  divine. 

2.  The  words  "namely,"  "for  example,"  "as," 
and  similar  words,  when  used  to  introduce  an 
example  or  an  enumeration,  are  usually  preceded 
by  a  semicolon  and  followed  by  a  comma. 


78  THE  SCHOOL  PRINTSHOP 

Colon 

Use  a  colon  in  the  following  cases: 

1.  After  a  salutation: 

Dear  Sir: 

Ladies  and  Gentlemen: 

Friends,  Romans,  Countrymen: 

2.  After  a  word,  phrase,  or  clause  used  to  intro- 
duce something  that  follows,  such  as  a  list  or  an 
extended  quotation : 

The  colors  of  the  spectrum  are  these:  red,  orange, 
yellow,  green,  blue,  indigo,  and  violet. 

3.  Between  the  parts  of  a  number  denoting 
time,  and  in  Bible  references  citing  chapter  and 
verse : 

8:30  A.M. 

Luke  17:20 

Matt.  10:15  — 11:10 

Quotation  Marks 

1.  Use  quotation  marks,  two  turned  commas  at 
the  beginning  and  two  apostrophes  at  the  end,  to 
inclose  a  direct  quotation: 

The  old  man  said,  "It  is  time  to  go  home." 

Caution.  Do  not  inclose  indirect  discourse  in 
quotation  marks: 

The  old  man  said  that  it  was  time  to  go  home. 

2.  When  an  extract  consisting  of  more  than  one 
paragraph    is    quoted,    the    turned    commas    are 


ENGLISH  79 

placed  at  the  beginning  of  each  paragraph,  but 
the  apostrophes  are  used  only  at  the  end  of  the 
final  paragraph : 

"But  that  which  endears  Giotto  to  the  hearts  of  his 
countrymen,  to  the  hearts  of  all  those  who  love  beauty, 
in  fact,  is  his  exquisite  bell-tower  in  Florence,  Giotto's 
Campanile. 

"It  is  a  tall,  slender  shaft  of  variegated  marbles, 
detached  from  the  church,  as  all  bell-towers  are  in  Italy, 
but  it  is  so  graceful,  so  beautiful,  so  rich  in  detail,  and  so 
perfect  in  proportion,  that  you  cannot  wonder  men  gaze 
on  it  with  admiration." 

Note.  When  the  observance  of  Rule  2  causes 
an  unsightly  appearance,  the  extracts  may  be  set 
in  a  smaller  size  or  different  style  of  type,  or  in 
narrower  measure,  in  a  separate  paragraph.  The 
quotation  marks  may  then  be  omitted,  as  they  are 
not  needed  to  show  that  the  matter  does  not  belong 
to  the  text.  When,  however,  a  reduced  size  of 
type  is  used  for  a  series  of  quotations  following 
directly  after  one  other,  the  quotation  marks  are 
retained  for  each  quotation. 

3.  A  quotation  within  a  quotation  is  indicated 
by  single  quotation  marks;  one  within  that  by 
double  marks  again: 

Bertholde  an.swered,  "I  wish  to  remain  free;  but  I 
cannot  if  I  accept  your  presents,  for  the  proverb  says, 
'He  who  takes,  sells  himself.'  " 

4.  Slang  phrases,  or  others  current  in  speech, 


so  THE  SCHOOL  PRINTSHOP 

but  not  in  good  taste  for  writing,  are  quoted  when 
they  appear  in  print: 

The  boys  thought  they  could  "put  one  over"  on  the 

teacher  that  day. 

5.  The  punctuation  of  quotations  is  iHustrated 
by  the  following  sentences: 

She  answered,  "I  am  here." 

"This  is  the  best  of  all!"  they  shouted. 

Said  he  to  the  boy,  "Whither  wilt  thou  look  for  thy 
goats? " 

Did  John  say,  "I  know"? 

"Yes,"  said  Miss  Polly,  "three  generations." 

"No,"  said  Mrs.  Treadwell.  "I'll  tell  you  what  I 
did  see." 

"If  he  does,"  said  King  Hal,  "I  shall  have  him  hanged 
a  quarter  of  an  hour  afterward." 

"Ah,  but  that  would  not  save  my  life,"  said  the  Fool. 
"Couldn't  you  have  him  hanged  a  quarter  of  an  hour 
before?" 

"Where  are  you  going?"  asked  the  man. 

6.  In  dialogue  each  separate  speech  is  quoted, 
and  a  new  paragraph  is  required  for  each  speaker 
in  turn. 

Note.  The  period  and  the  comma  are  always 
placed  inside  the  quotation  marks.  The  colon, 
the  semicolon,  the  exclamation,  and  the  interro- 
gation point  are  sometimes  placed  within  and 
sometimes  without  the  quotation  marks,  depend- 
ing upon  whether  the  punctuation  is  part  of  the 
quotation. 


ENGLISH  81 

Dash 

Use  a  dash: 

1.  To  indicate  the  abrupt  breaking  off  of  a 
sentence  or  thought: 

Here  are  the  tickets — don't  lose  them. 

2.  Before  a  word  or  group  of  words  that  repeats 
or  summarizes  or  modifies  what  has  gone  before: 

We  are  not  here  to  play,  to  sleep,  to  dream — in  other 
words,  to  drift. 

Greece,  Rome,  Carthage — all  are  gone. 

3.  Sometimes  before  a  quotation  which  begins 
in  the  middle  of  a  Hne  of  poetry: 

We,  too,  were — 

" — the  first  that  ever  burst 
Into  that  silent  sea." 

4.  As  a  substitute  for  marks  of  parenthesis: 

She  had  a  basket  on  her  arm — she,  too,  in  spite  of  her 
pride — and  very  humbly  she  offered  her  wares. 

Marks  of  Parenthesis 

Ordinarily  dashes  may  be  used  in  place  of  marks 
of  parenthesis.  When  marks  of  parenthesis  are 
used,  the  inclosed  matter  is  irrelevant. 

Hyphen 

1.  When  it  is  necessary  to  divide  a  word  at  the 
end  of  a  line,  make  the  division  by  syllables  and 
place  a  hyphen  at  the  end  of  the  line. 

2.  The  hyphen  is  used  in  many  compound 
words.     No  simple  rule  can  be  given  for  its  use 


82  THE  SCHOOL  PRINTSHOP 

or  for  its  omission.  Correct  practice  in  each  case 
can  be  learned  only  from  observation  and  the 
study  of  the  dictionary: 

surgeon-general  together 

self-preservation  without 

3.  Compound     words     denoting     number     are 
hyphenated : 

eighty-six  forty-nine 

4.  Two   words   which    are   combined   into    one 
adjective  before  a  noun  are  hyphenated: 

public-school  curriculum  baking-powder  biscuit 

Apostrophe 

Use  an  apostrophe  in  forming: 

1.  The  possessive  case  of  nouns: 

the  boy's  book         James's  ball         boys'  hats 

Note.     An  apostrophe  is  never  used  to  form 
the  possessive  of  personal   or  relative  pronouns: 

its  theirs  whose  hers  his 

2.  The  plural  of  figures,  signs,  letters,  and  words 
used  as  words: 

The  2's  and  the  5's  loolv  alike. 
+  's  and  — 's  are  confusing. 
My  father  studied  the  three  R's. 
Use  fewer  "and's." 

3.  Use  an  apostrophe  also  to  take  the  place  of 
the  omitted  letter  or  letters  in  a  contracted  word : 

'Tis  mine.  Couldn't  you  do  that? 


ENGLISH  83 

Brackets 

1.  Brackets  are  used  to  inclose  a  word  or  words 
of  explanation  inserted  in  a  quotation  by  the 
person  quoting.  The  cjuoted  words  are  shown  by 
the  quotation  marks;  the  interpolated  words  are 
within  the  brackets: 

The  speaker  declared,  "The  centuries  of  war  are 
passed  [said  in  the  nineteenth  century]  and  an  era  of 
peace  is  before  us." 

2.  Brackets  are  used  to  supply  omissions  or  to 
correct  errors  in  the  text.  (This  is  a  common 
practice  of  librarians  on  catalog  cards  when  sup- 
plying the  date  of  publication  or  other  missing 
information.) 

Our  party  explored  the  region  last  year  [1910]. 

3.  Brackets  are  used  to  inclose  a  parenthesis 
within  a  parenthesis: 

"His  last  act  (like  a  choleric  old  gentleman  [though 
evidently  the  writer's  favorite])  was  to  kick  his  doctor." 

B.    DIVISION    OF    WORDS 

There  is  much  difference  of  opinion  among 
printers,  writers,  and  makers  of  dictionaries  as  to 
the  division  of  words  into  syllables.  The  best 
general  practice  is  to  follow  the  rules  for  pro- 
nunciation. The  following  suggestions  are  made 
on  that  basis.  When  in  doubt,  consult  the  dic- 
tionary, following  the  one  you  are  accustomed  to 
use  as  authority,  but  keep  an  open  mind  on  the 
7 


84  THE  SCHOOL  PRINTSHOP 

subject  and  be  ready  to  note  the  usage  of  author- 
ities on  printing. 

1.  A  word  of  one  syllable  cannot  be  divided: 
has  did  should  though 

2.  Words  can  be  divided  only  on  a  syllable;  it 
is  best  to  divide  on  an  accented  syllable : 

constitu-tion 

Note.  If  the  division  on  the  accented  syllable 
interferes  with  the  proper  spacing  of  the  line,  the 
printer  should  divide  the  word  on  an  unaccented 
syllable. 

3.  It  is  better  to  end  a  line  with  a  single  vowel 
syllable  than  to  begin  the  next  line  with  the 
vowel,  even  though  the  accented  syllable  may  be 
placed  as  in  "bene-fit." 

4.  Unless  the  measure  is  very  narrow,  a  syllable 
of  two  letters  should  not  be  left  at  the  end  of  a 
line  or  carried  to  the  beginning  of  the  next.  For 
instance,  do  not  carry  over  ly,  ed,  or  er,  and  do  not 
divide  such  words  as  "al-most,"  "re-mit,"  and 
"oc-cur." 

5.  Never  separate  a  syllable  of  one  letter  from 
the  rest  of  the  word : 

a-way  a-gain 

Words  ending  in  ed,  as  in  the  past  tense  of  regu- 
lar verbs,  should  not  be  divided: 

lingered  printed  wronged 


ENGLISH  85 

6.  Do  not  divide  words  of  four  or  five  letters: 
lady  maybe 

7.  Compound  words  should  be  divided  only  at 
the  point  of  their  union  as  compound  words: 

Irish-American  self-filling 

8.  Do  not  separate  the  initials  of  a  name. 
Carry  them  over  to  the  next  line.  This  rule 
applies  also  to  p.m.,  a.m.,  a.d.,  and  all  similar 
combinations. 

9.  Do  not  divide  figures  at  the  end  of  a  line. 

10.  Do  not  end  more  than  two  consecutive 
lines  with  a  hyjDhen. 

C.    SPELLING 

1.  Titles  of  honor  and  respect  preceding  the 
surname  should  be  spelled  in  full;  for  example, 
General  Grant  (although  Gen.  U.  S.  Grant  may 
be  permitted) . 

Note.  "  Mr., "  "  Mrs.,  "  and  "Dr."  are  excep- 
tions to  this  rule. 

Compound  titles  should  always  be  spelled  in 
full,  and  both  words  should  be  capitalized: 

Vice-President  Marshall 

2.  Christian  names  should  be  written  in  full 
unless  they  are  used  as  a  firm  name  or  as  a  sig- 
nature : 

Woodrow  Wilson        0.  Henry        T.  B.  Brown  &  Co. 


86  THE  SCHOOL  PRINTSHOP 

3.  All  numbers  of  less  than  one  hundred  which 
occur  in  ordinary  reading  matter  should  be  spelled 
out.  Matter  statistical  or  technical  in  character 
is  an  exception  to  this  rule.  (See  also  Rule  4, 
following.) 

4.  Numbers  beginning  a  sentence  should  always 
be  spelled  in  full. 

5.  Round  numbers  should  be  spelled  out;  for 
example,  five  hundred. 

6.  When  round  numbers  and  numbers  not  round 
occur  in  the  same  sentence,  use  figures  for  both, 
transposing  the  sentence,  if  necessary,  in  order  to 
avoid  beginning  it  with  figures. 

7.  Spell  out  the  time  of  day  when  a.m.  or  p.m. 
is  not  used  in  connection  with  it.  In  that  case  use 
figures : 

three  o'clock  half  after  nine  4:00p.m. 

8.  Spell  out  the  ages  of  persons: 
si.xty-five  years  old 

9.  Print  in  full  the  figures  representing  the 
year: 

1916  (not  '16) 

10.  Spell  out  the  names  of  states  if  they  are 
short.  The  name  of  any  state  occurring  in  ordi- 
nary reading  matter  should  be  spelled  out : 

We  visited  Portland,  Maine. 

11.  Spell  out  the  names  of  months. 


EXGLISPl  87 

D.    CAPITAL    LETTERS 

Three  lines  under  a  letter  or  word  indicate  that 
it  is  to  be  set  in  capitals  (caps). 

1.  Capitalize  proper  nouns  and  adjectives. 
Capitalize  common  nouns  when  they  are  used 
as  part  of  a  title: 

The  United  States  of  America  is  a  republic. 
The  French  are  a  more  frtigal  people  than  either  the 
English  or  the  Americans. 
Busy  Bee  Club 
Mississippi  Valley 
Rheims  Cathedral 

Note.  The  word  "Van"  in  Dutch  proper 
names  is  usually  capitalized;  the  Moorish  "Al" 
and  the  Turkish  "El"  are  always  capitalized;  the 
German  "von"  is  not  capitalized  unless  it  begins 
a  sentence;  the  French  "de"  is  capitalized  except 
when  it  is  preceded  by  a  Christian  name: 

Dr.  Van  Hoosen,  but:  Henry  van  Dyke  (changed  by 
Dr.  van  Dyke) 

Haroun  Al  Raschid 
Professor  von  Hoist 
De  Vigny,  but:  Georges  de  Vigny 

2.  Capitalize  titles  when  they  precede  proper 
names;  titles  of  United  States  governmental  of!i- 
cers  of  high  rank  are  always  capitalized: 

The  matter  was  referred  to  Professor  Angell. 
The  committee  conferred  with  President  Wilson. 
The    President   sent   orders   to    Commander-in-Chief 
Pershing. 


88  THE   SCHOOL   PRINTSHOP 

3.  Capitalize  names  of  societies  and  corpora- 
tions : 

The  Red  Cross  Society 
The  Standard  Oil  Company 

4.  Capitalize  the  words  ' '  street,  "  "  avenue, ' '  and 
similar  words  when  they  are  used  in  connection 
with  names: 

Massachusetts  Avenue 
Thirty -first  Street 

5.  Capitalize  the  first  word  of  a  sentence  and  the 
first  word  of  every  line  of  poetry: 

Printing  was  invented  by  the  Chinese. 

Breathes  there  the  man  with  soul  so  dead 
Who  never  to  himself  hath  said, 
"This  is  my  own,  my  native  land!" 

6.  Capitalize  important  words  in  titles  of  books, 
newspapers,  and  magazines;  that  is,  nouns,  pro- 
nouns, verbs,  adjectives,  and  adverbs: 

A  Tale  of  Two  Cities 
Chicago  Tribune 
The  Nation 

7.  Capitalize  the  pronoun  "  I "  and  the  vocative 
"O": 

He  asked  if  I  were  going  home. 

Build  thee  more  stately  mansions,  O  my  soul. 

Note.  The  interjection  "oh  "  is  not  capitalized 
except  when  it  begins  a  sentence: 

We  traveled,  oh,  so  many  miles  across  the  snow. 


ENGLISH  89 

8.  Capitalize  the  names  of  the  days  of  the  week, 
the  months  of  the  year,  and  civic  holidays : 

The  class  meets  on  Mondays  and  Thursdays. 
In  some  climates  November  is  a  cheerless  month. 
The  Fourth  of  July  Memorial  Day 

Note.  Do  not  use  capitals  for  "spring,"  "fall," 
"winter,"  and  "summer." 

9.  Capitalize  the  names  applied  to  the  Deity: 
God  Almighty  Jehovah 

Note.  Personal  pronouns  which  refer  to  the 
Deity  are  also  capitalized,  as  "His,"  "Thy," 
"Thine."  Relative  pronouns  used  of  the  Deity, 
as  "who,"  "which,"  are  not  capitalized. 

10.  Capitalize   certain  abbreviations,   such   as: 
Mr.  Dr.  St.  Ph.D.  Co. 

11.  In  hyphenated  words  occurring  in  titles, 
capitalize  the  second  member  of  the  compound 
only  when  it  is  a  noun: 

Twentieth-Century  Inventions,  but:  Fifty-fifth  Street; 
So-called  Wealth 

12.  Capitalize  nouns  or  adjectives  designating 
sections  of  the  country  when  they  are  used  as 
names : 

The  old  Northwest 
The  solid  South 

Note.  Do  not  capitalize  the  words  "north," 
"south,"  "east,"  and  "west"  and  their  deriva- 
tives when  they  indicate  direction. 


90  THE   SCHOOL   PRINTSHOP 

E.    CAPITALS    AND    SMALL    CAPITALS 

Two  lines  under  a  letter  or  word  indicate  that 
it  is  to  be  set  in  small  capitals  (s.c). 

1.  Use  caps  and  small  caps  for  the  salutation 
of  a  letter: 

Dear  Sir: 

2.  Use  caps  and  small  caps  for  the  names  of  the 
town  and  state  in  a  letter  heading: 

Chicago,  Illinois 

3.  Use  caps  and  small  caps  for  signatures: 

John  Smith 

4.  Use  caps  and  small  caps  for  Section  in  con- 
stitutions at  the  beginning  of  paragraphs. 

5.  Use  caps  and  small  caps  for  Note  at  the 
beginning  of  a  paragraph. 

6.  Use  caps  and  small  caps  for  Whereas  in 
resolutions  at  the  beginning  of  a  paragraph. 

7.  Small  capitals,  set  close  or  with  thin  space, 
are  used  for  a.m.  and  p.m.  and  B.C.  and  a.d. 

F.    ITALICS 

One  line  drawn  under  a  letter  or  word  indicates 
that  it  is  to  be  set  in  itaHcs.  Italics  may  be  used 
for: 

1.  The  preface  of  a  book. 

2.  An  introductory  note. 

3.  A  circular  letter. 

4.  Short  bits  of  poetry. 


ENGLLSH  91 

5.  Foreign  words  and  phrases  not  yet  angli- 
cized : 

Merci! 
De  gitstibus 

6.  Address  lines  in  letters: 

Mr.  John  Smith,  Evanston,  Illinois: 

7.  Address  lines  in  speeches : 

Mr.  Speaker: 
Friends: 

8.  The  word  Resolved  in  formal  resolutions. 

9.  The  signature  at  the  end  of  an  extract. 

10.  The  title  or  office  of  a  person  following  his 

signature : 

John  Jones,  Secretary 
L.  E.  Brown,  Chairman 

11.  The  words  To  be  continued  at  the  end  of 
an  article  and  the  word  Continued  or  Concluded 
at  the  beginning  of  an  article. 

12.  Subheads,   side-heads,   and  running  heads. 

13.  Titles  of  publications  —  books,  pamphlets, 
periodicals,  and  newspapers. 

14.  If  the  title  of  a  book  begins  with  "the,"  it 
should  be  italicized  and  capitalized.  In  the  name 
of  a  periodical  ' '  the ' '  should  be  printed  in  lower- 
case roman  even  if  a  part  of  the  title ;  an  exception 
to  this  rule  is  the  title  of  a  periodical  which  con- 
sists of  only  two  words  one  of  which  is  "the": 

I  read  the  Chicago  Tribune,  but:  I  read  The  Nation. 


CHAPTER   XII 
ART  IN  PRINTING 

Art  as  related  to  printing  is  generally  taken  to 
mean  printing  done  with  specially  designed  type 
on  hand-made  paper,  producing  a  result  that  is 
far  removed  from  utility.  Books  thus  made  are 
usually  issued  in  a  limited  edition  intended  for 
only  a  few  persons  —  those  artistic  enough  to 
appreciate  the  excellence  of  such  books  or  rich 
enough  to  gratify  their  aesthetic  whims. 

Art  in  printing,  however,  is  not  mysterious;  it 
can  be  learned  by  any  printer  and  achieved  in  any 
printshop.  It  may  be  strictly  utilitarian — in  the 
sense  of  being  useful  —  and  it  may  be  attained 
with  purely  commercial  type.  It  is  not  necessa- 
rily expensive.  Well-designed  type  can  be  bought 
as  cheaply  as  poorly  designed  type,  and  a  well- 
arranged  page  costs  no  more  than  one  that  dis- 
regards the  principles  of  design. 

Simplicity  is  the  keynote  of  artistic  printing, 
which  is,  after  all,  only  putting  into  consistent 
relations  with  one  another  all  the  factors  involved 
in  printing.  Every  beautiful  page  conforms  to 
certain   principles   of   design.     The   printer   who 

92 


ART   IN   PRINTING  93 

knows  these  principles  —  the  laws  governing  har- 
mony of  shape,  balance,  and  tone  —  can  better 
control  any  given  situation  than  one  who  has  not 
this  knowledge. 

A  knowledge  of  rules,  however,  can  never  take 
the  place  of  good  taste  and  of  a  feeling  for  the 
right  arrangement.  Since  both  are  essential,  the 
pupil  must  study  many  examples  of  fine  printing. 
Printing  was  invented  at  a  time  when  all  crafts- 
men worked  for  beauty,  and,  while  much  of  the 
early  work  was  crude,  it  had  in  it  genuine  art. 
Although  not  much  early  work  is  within  our 
reach,  some  city  and  university  libraries  contain 
a  few  originals,  and  it  is  possible  to  secure 
facsimiles  of  others.  There  are  also  many  print- 
ers of  to-day  whose  work  attains  high  artistic 
excellence. 

Artistic  printing  depends,  first,  on  a  high  order 
of  typography;  secondly,  on  the  arrangement  of 
the  type  mass  in  conformity  to  the  structural  lines 
of  the  paper;  and  thirdly,  on  the  correct  placement 
of  the  block  of  type  upon  the  page. 

Good  typography  means,  first  of  all,  legibility. 
The  legibility  of  the  page  is  affected  by  (a)  the  size 
and  shape  of  the  type  and  the  character  of  its  line, 
(b)  the  spacing  between  the  words  and  the  dis- 
tance between  the  lines  of  type,  (c)  the  color  of 
the  ink  and  the  quality  of  the  presswork,  and  (d) 
the  shade  and  finish  of  the  paper — the  factors 


94  THE   SCHOOL   PRIXTSHOP 

which  determine  the  tone  of  the  page.  These  are 
also  the  factors  which  help  to  make  the  page 
interesting  or  uninteresting;  for,  while  legibility 
is  the  chief  consideration,  the  simple  beauty  of  the 
printed  page  is  not  of  minor  importance. 

The  student  of  printing  must  apply  to  his  work 
in  the  printing  class  the  principles  of  design 
learned  in  the  art  class.  When  undertaking  a 
piece  of  printing,  he  should  begin  by  making  a 
plan  for  it.  He  must  choose  a  style  of  type  that 
will  harmonize  with  the  subject.  He  must  decide 
upon  the  proportions  of  his  type  mass  with  rela- 
tion to  the  space  to  be  filled,  and  select  a  size  of 
type  consistent  with  that  space.  He  must  then 
make  a  pencil  sketch  upon  a  sheet  of  paper  of  the 
proper  size.  This  sketch,  called  in  printing  offices 
a  layout,  should  specify  the  exact  size  and  style 
of  type,  the  size  of  the  type  mass  and  its  location 
on  the  paper,  the  place  of  the  cut,  if  any  is  to  be 
used,  and  all  other  details  necessary  to  show  how 
the  work  will  appear  when  completed.  The  mak- 
ing of  the  layout  is  important.  The  best  com- 
mercial shops  find  it  quite  worth  while  to  employ  a 
professional  typographic  designer  who  does  this 
work  for  the  compositors  and  pressmen. 

In  the  making  of  a  design,  care  must  be  exer- 
cised to  have  the  mass  of  type  conform  to  the  shape 
and  proportion  of  the  paper.  For  example,  a 
scjuare  mass  printed  on  an  oblong-shaped  paper  is 


ART   IN   PRINTING  95 

not  pleasing.     If  the  length  of  the  paper  is  to  be 
greater  than  the  width,  the  type  must  be  so  set 


(SNVOY 

Jl  little  work.,  o  little  play 

To  k.eep  us  going —  and  so. 

good- day! 

Jl  little  warmth,  a  little  light 

Of  love 's  bestowing —  and  so. 

good-night! 

Ji  little  fun  to  match  the  sorrow 

Of  each  day's  growing — and  so, 

good-morrow! 

Jl  little  trust  that  when  we  die 

We  reap  our  sowing — and  so, 

good-bye! 

George  T)u  dM^aurier 

Fig.  37.      Type  matter  for  a  card  {outline  shows  margins) 


96  THE  SCHOOL  PRINTSHOP 

that  the  type  mass  is  greater  in  its  vertical  than 
in  its  horizontal  direction,  and  vice  versa.  As 
a  rule  the  appearance  is  more  pleasing  when 
the  mass  is  decidedly  vertical  or  decidedly  horizon- 
tal. There  should  be  enough  difference  to  lend 
distinction. 

The  space  surrounding  the  block  of  type  must 
be  correctly  proportioned  if  the  page  is  to  be 
satisfactory.  In  a  finely  designed  page  this  mar- 
gin must  be  of  sufficient  width  to  serve  as  a  frame. 
So  treated  it  helps  to  unify  the  block  of  printing 
within,  and  leads  the  eye  at  once  to  the  con- 
sideration of  the  block  itself.  If  the  printed  mat- 
ter is  on  a  card  or  a  single  sheet,  not  to  be  bound 
in  a  book,  the  usual  rule  is  to  make  the  top  and 
the  side  margins  equal,  or  nearly  equal,  and  the 
bottom  margin  wider.     (See  Fig.  37.) 

In  the  case  of  a  book  the  two  open  pages  form 
the  unified  block  and  the  same  general  rule  is 
observed.  (See  Fig.  38.)  Some  otherwise  good 
printers  make  the  mistake  of  regarding  the  single 
page  as  the  unit  of  the  book  and  place  the  type 
mass  in  the  middle  of  the  page.  As  a  result  of 
this  practice  the  binding  edge  appears  wider  than 
the  fore  edge,  and  the  top  margin  wider  than  the 
bottom  one. 

From  the  time  books  took  their  present  form, 
about  the  fourth  century,  until  the  sixteenth 
century,  the  book  page  was  placed  in  a  dignified 


ART  IN  PRINTING 


97 


position  which  young  printers  may  safely  adopt. 
As  may  be  seen  from  the  illustrations,  these 
makers  of  books  left  the  least  margin  on  the  bind- 


'^''^^'VBBBMHHI 

.nf,Til,.n                        '; 
Aw,.t.„-      , ,.,                 '''/<""  O?"' 'Of  nK«»to^^o«,V,i,li 

-,j,,ia,-^ift«r^,y.  r    ^S^L'^'""'  'f^■''"'«?";'/■''^'''- 
1                                                                ..                                                                                                    A      , 

Fig.  38.   To  show  open  page  as  a  tmit.    From  the  A  Idine  Press,  1522 

ing  edge,  increased  the  width  at  the  top,  made  the 
width  of  the  side  margins  still  greater,  and  gave 
the  tail  the  widest  margin  of  all  (Figs.  38,  39). 
It  is  said  that  this  was  done  because  the  book  is 
handled  at  the  sides  and  the  bottom  and  mar- 
ginal space  was  given  for  this  purpose.  Another 
reason  may  be  that  the  eye  naturally  focuses  on 


ij  ■,-.    , '.  :ini.ppugnanciurehqiicrat:opiiil>!i!ajTiduis:hofl.-rq; 

;tucr  [c  df.;^-rrKT.-.bctaLjd..'^-nt!  irugna  erLipnonc 
J 11  uvupai.i  occjt  lonc  ni  prxtcmiittiit .  &  iciiqilos 
u  -  ci^  Ml  [.  - ^;i ittuorJtcim  mili.i  urlaonc  .pficifcuc'.quod  oppuium 
in,igili  niuiutione  cocini-b.irMic  ut  ipfe  locu^  no  Tola  opcrc  ;  frc(  ecum 
nuart  Ckiti6.:jJ  oppugnddu  (lailcm  .ippetcrct.Hoc  aaidfrit:<j. acjua 
pMcci.^ r ipfo  oppi.io  ni  erat  .iLi  cir. iiaua  niifij  rcp.Tirlnt'nuus  ppiiis 
iiul.p.illuu  o.'In. COMICS  nugriocrat  aJ.mmt-tooppiJinib.tu  prxtcrci 
a/iT  !:'.^^t:ura:;T:m  ir  11.1'-:).'  undelolitx  fjt  ciim-b  a^i:^ipms  mil.paf- . 
r  -  !.      \c  Popciusut  oppidi  oppugn  icionc  tunotc 

■.  loppidiiruccUiintrocuiz-riir.ltanecHlano 
'(  .i     ;  ,  vj;ia,p\ro  ccper.it:nll:^nr:  1  il!o  .i;portarec. 

O-  :■;,  li  :n...1im  i.rut"  &urr;.-.;l.mA',tl",:  :  ailpalim 

fc  :  :.:,u.:r,-r.i  k-.^ura^Ae  co<kh  -  Jii-..,ui  >Vm  .  .juxau 

.,rmar'ca,pa,mia«oihus,pu.nn,.Ff.:ulii,>;^  ,    ,    ^.5.•,^u.^ 

potlul"l;;Ci-o!xiiiporcK;iufaiaU:'^iui  die  .  in  !  lu  ''i'  J^'  ^airaipbato 
hoiioK  ue<:ligi!i-:quA-  \k-tJlus  Impolu.lTcC  :  a  iciutu  pctiiTc  .  &  eius 
pcmiu.S^-'iiiViihhriaHe.Si-TiuI..;:  pHV.nir.  iur.Yp.-o  in  .1:k  I  •y.ricMi-.ir 
aLMci-:;-nati'iiau,-l!5:riiini     ■!      ;     ,  •..  .    '  !       '■.     ; 

.pmnax  tubuillo  .  ro,^  ,i    ; 

in  fe:A;  in  piipii'.a  i.iiini'  ■.  [■  i.co  [^j:i  ..- rgj^r.oi'iil'- 

Llos  lUtcerniiLi  f;  cr.iiu  i  ..'gnitismoitialoacoruin 

populi  ri^nianuna^nar.an  .  ,  :  .  ,  u  UiTK'lA:  li-pms  amiillhs. 
&  luce  data  captum  m  mf  Jici  t.jm  nc'  iru-  njtcit'icert-  qoliiiftis.  Vo';  ita 
parem  dp  oJifir, :  ut  nuUo  rcmpori  Icgiocs  deCtm  populi  ro.in  har^p. 
umcia  hatwn.  Apud  uo^  Ixneficia  f  mileficws  :  malcfina  pro bcnchciis 
habent'.  Ira  nro-  m  oVio  cJc-itii.i  .ncq:  m  bcllo  uirtuicm  ullo  tempore 
reticle  potuillis.'Pnuatus  ex  fuga  (  n.P6pou'.  adoUfccns  a uobis  rccep' 
tus:faf<res  fpenu  ]: (ibi  arnpuit'.MuIcK i;i-ife<ftis ciuihiis:  auxilia contra 
populiirornanu  v-6parau!t;agros  .puuKia\]i  fli-ftioipuliudcpopulaius. 
(n  quT  uos  inclorcs  exatabans  .'  .\n  mr  del.  tu  non  animaduettcbins 
decern  habere  Icgiones  populu  romanu:  oi^it  no  I oluin  uobis obfifter,-  ■ 
iVdetiimcilumdiaierepolTent.Quarum  lauJibu!.  &:  luitute 

CAII IVLII CAFSARIS  COMMF>;TARIC3  PLLLI  OAUJ'  1 
aVU-IS  POMPEIANI :  ALhXA  M  ■'  ICI :  AC  HIS 

PANIfiNSlS  NirOLAVS  !-  '      v'S  VENETIIS 

FELTOTFR  IMPRESSIT  M  ■  '  •  '    '      >. 


Courtesy  of  the  Newberry  Library 

Fig.  39.     Printed  at  Venice  by  Nicolas  Jenson 


98 


ART   IN   PRINTING  99 

the  middle  of  the  page  and  the  space  below  is 
consequently  foreshortened. 

The  ink  used  in  printing  should  be  adapted  to 
the  paper.  There  is  a  great  difference  in  the  char- 
acter of  even  the  black  inks.  A  sample  of  paper 
and  the  color  of  ink  desired  sent  to  the  ink-maker 
will  bring  ink  of  the  proper  tone  and  consistency 
and  reduce  many  ordinary  pressroom  troubles. 

In  selecting  paper  one  should  take  into  account 
the  skill  of  the  pressman,  the  kind  of  work  to  be 
done,  and  the  style  of  type  to  be  used.  The  color, 
opacity,  quality,  and  strength  should  all  be  con- 
sidered. A  paper  with  little  or  no  sizing  absorbs 
the  ink  readily  and  enables  the  inexperienced 
pressman  to  do  satisfactory  work.  The  presence 
of  cuts,  whether  line  or  halftone,  necessarily 
affects  the  choice  of  paper.  Heavy  type  works 
well  on  coarse,  rough-textured  stock.  Fine  hair- 
line type  prints  to  better  advantage  on  wove 
calendered  paper.  In  general,  the  paper  should 
harmonize  with  the  subject  under  treatment. 
Obviously  the  quality  and  style  used  for  an 
evanescent  announcement  would  differ,  perhaps 
greatly,  from  that  selected  for  a  dignified,  per- 
manent record. 

To  sum  up:  Paginal  beauty  depends  upon  a 
text  composed  in  well-designed  type,  of  proper 
measure,  evenly  spaced,  well  arranged  with  correct 
margins,  and  printed  in  good  ink  with  a  clear  and 


100  THE  SCHOOL  PRINTSHOP 

even  impression  of  the  type  upon  a  suitable  qual- 
ity and  color  of  paper. 

But  what  of  ornamentation,  initial  letters  (Fig. 
40),  illustrations,  borders,  head-  and  tail-pieces? 
The  page  may  very  properly  be  decorated,  but  the 
decoration  must  be  such  as  to  emphasize  the 
printing;  it  must  be  consistent  with  the  general 
design  of  the  type  and  in  no  way  attract  attention 

^TT^E  believe  that  God  hath  made  of 
1  I  #  ^^^  blood  all  nations  of  men,  and 
VAx  that  we  are  His  children,  brothers 
and  sixers  all.  We  are  citizens  of  the 
United  States,  and  believe  our  Flag  ^ands 
for  self-sacrifice  for  the  good  of  all  the 
people.  We  want  to  be  true  citizens  of 
this  our  city,  and  therefore  will  show  our 
love  for  her  by  our  works. 

Chicago  does  not  ask  us  to  die  for  her 
welfare;  she  asks  us  to  live  for  her  good,  so 
to  live  and  so  to  act  that  her  government 
may  be  pure,  her  officers  honest,  and  every 
home  w^ithin  her  boundaries  be  a  place  fit 
to  grow  the  best  kind  of  men  and  women 
to  rule  over  her. 

:Mary  ^cT>owell 

Fig.  40.     To  show  the  use  of  an  initial  letter 


fC 


o 
■1-1 

<3J 

;-4 

3 

d 

r") 

o 

■— ] 

O 

o 

CO 

> 

o 

g 

d 
> 

CO 

CO 

s 

rt 

w 

U 

<1> 

u 

■M 

X 

-5 

( ) 

o 

0-1 

rt 

a: 
X 

CO 

>- 

> 

"Sb 

1) 

03 

nn 

UJ 

rt 

D 

^ 

d 

z 

0 

■M 

o 

UJ 

F 

(1) 

i-j 

u 

(L) 

1— > 

a 

CO 

d 
S 

4:i 

(U 

< 

'u5 

X 
W 

■M 
O 

> 

d 

T3 

■M 

13 

o 

d 

o 

to 

u 

d 
1-^ 

0-1 

d 
o 
a 
iw 
o 
a 

101 


102  THE   SCHOOL    PRINTSHOP 

from  the  print  to  itself.  Above  all,  the  decoration 
must  mean  something.  The  picture  must  illus- 
trate the  subject  of  the  text  (Fig.  41),  The  initial 
letter,  the  border,  the  head-  and  tail-pieces  should 
symbolize  the  context.  As  the  architectural  deco- 
rator must  follow  structural  lines  in  themselves 
ornamental,  the  book  illustrator  should  be  gov- 
erned in  his  design  by  the  form  of  the  type  page 
(Fig.  42).  The  type  itself  also  establishes  a  scale 
and  line  character  of  its  own,  and  the  illustrator 
must,  perforce,  choose  a  line  which  will  range  best 
with  the  type  line.  He  must  then  proportion  the 
white  of  his  drawing  so  as  to  render  the  text  dis- 
tinctive. The  artist  and  the  printer  must  unite 
— in  one  person,  as  in  days  of  old,  or  in  unity  of 
purpose  in  these  days  of  specialization — to  form 
a  homogeneous  design,  the  page. 

The  average  printer  seems  to  find  a  squared-up 
initial  easier  to  handle  than  a  large  letter  of  the 
page  type,  although  the  latter  is  always  in  better 
taste  than  a  stock  design  "of  no  particular  signifi- 
cance." The  correct  setting  of  an  initial  is  not 
altogether  a  simple  matter.  It  should  always 
align  with  the  type  line  at  the  bottom  as  well  as 
at  the  top.  The  shoulder  can  be  removed  when 
necessary  to  bring  the  bottom  into  line  with  the 
type.  The  space  about  the  initial  should  be 
uniformly  white,  the  shoulder  determining  the 
amount    of    indention    required.     Some    letters, 


^m^^m^mmm 


^ 


m 


u 


m^ 
M 


Addmum  Alfonfiini  Ai.ij;onum  icutriurq^Sicilij 
legem  in  libtosciuiliu  bellovu  ex  Appuno  Alcxsn- 
drino  i!i  latinurnduclosFicfauoinapicfdicuTime. 

Arthoru  icj:cm  ur  ibArineoJccepi' 
iiiuslincniiincic  IJIuMrenemopo' 
tei'r.  Egoiieioit:lono(ininicrexciini 
cuam  uirtutc  humjuiut.'  j  c^'liJclo 
rcirn  cjceras  nacurj  dote; :(^ tubus  in ' 
tcr  ctatis  ncftre  prmci'pes  ucl  in  pri- 
n)i5  illultris  es:  Itiblimc  ingenium  : 
lunimi  c.iri;.it^':  liimniJ  continentia 
nulla  ntionc  .idJuci  poiluni  titiiQ;i 
plunsapuitehJcni  meaefleexirtinieni  cj  ullisopcs.Quip' 
pcoJteinJigentibtis&ucluciennuluciocniciris  ^|  igiiocis 
ofTerreuideam  pi.ts  mmirs.Ceteinecline  nuinetea-itciieni 
nccuactU5(  uraiunt)m.ini!-iis  tua  maielutc  liimadoratuius. 
Namcti  piioics  Appuni  libros.Libyciim:  Syiiunr.  Partbiai 
&  Mitbnd.inai  Nicolaoquinto  lumo  pontitici  diim  i  hunij' 
nis  agerct  c  gieco  tranftulillem'  Rcliquos cuiilium  belloruni 
conicntaiiosiqtieSenatus.'populur.^i'onianus  iiiuiccmgciTic 
niindu  cdito;  Jut  perfec'tos  a  me  ad  qucm  pDUus  inittcicm  ^ 
adteiuiilifTune princcps  Hilpanir pititei&kalijnoltrfde- 
cus:&quinon  minus  optmianim  annnr,  rtuiijs:&]itcenS'q 
armis indytus cs:  atq  memorandus. Accipies igit  noiiii opus; 
nee  indignu  tegio  jnimc:iegio^  cofpeclu  cuo.Sed  quod  cum 
pnlciE  illis  ublumnnbus  ab  bisiqui  biftonas  Icnprcle  poltciK 
uti  traditis.  ikileojnfcrri  qucat.  v^,  li in  contrarium  no  nulli 
reft'3gentur(uCEmuloruni  mo5e[t)qiiemuelintcxlatinis  1:1 
medium  adducantrfiueCrirpuiriueCcraremtliueCuitiam: 
fuie  alia uulgata  doftoiu  noinma/  eorti :  qui  biftonas Icnple' 
runcinullosexbis.'quicuni  auilibus  Appianilibnsconferri' 


Anncus  Seneca  dc 
regepartbotum. 


NicoUus  papa  quiiv 
Libycus.        (,  cus. 
Synu5. 
Paitliicus. 
Mic!;ndaticus. 


Crifpu 
Ccfar. 
CuiTit 


Courtesy  of  the.  Newberry  Library 

Fig.  42.     A  Ratdolt  border 


103 


104  THE  SCHOOL   PRINTSHOP 

such  as  A  when  beginning  a  word,  should  always 
be  mortised,  while  the  appearance  of  letters  like 
T  and  Y  is  improved  by  indenting  the  text  lines 
below  the  initial  so  that  they  align  with  the  bottom 
of  the  initial  rather  than  with  the  top  (Fig.  43). 
This  makes  the  initial  project  somewhat  to  the 
left  and  causes  the  appearance  of  an  alignment 
of  the  initial  with  the  text. 

THAT  thing  which  I  understand 
by  real  art  is  the  expression  by 
man  of  his  pleasure  in  labor  I  do 
not  believe  he  can  be  happy  in  his 
labor  without  expressing  that  happi- 
ness; and  especially  is  this  so  when 
he  is  at  work  at  anything  in  which 

he  specially  excels. 

William    Morris 

Fig.  43.     To  show  the  use  of  "  T"  as  an  initial  letter^  .:  ■ 

What  has  been  said  about  the  sort  of  line  and  the 
relation  of  black  and  white  properly  applies  also  to 
borders.  The  width  of  the  border  should  be  pro- 
portioned to  the  width  of  the  page  margins,  increas- 
ing from  the  binding  side  to  the  tail  (Fig.  44). 

The  best  examples  of  borders  also  show  a  similar 
treatment,  on  a  very  small  scale,  of  the  white  space 


105 


106  THE   SCHOOL   PRINTSHOP 

which  should  appear  between  the  border  and  the 
type  mass. 

Whatever  appHes  to  other  forms  of  page  deco- 
ration appHes  with  equal  force  to  head-pieces  and 
tail-pieces.  They  should  agree  in  design,  the  tail- 
piece indicating  its  purpose  both  by  its  shape 
and  by  its  position. 

In  conclusion:  Embellishment  of  the  printed 
page  is  legitimate  and  with  restraint  may  be 
effectively  used;  but  the  ideal  of  every  young 
printer  should  be  that  of  the  Doves  Press: 

To  communicate  to  the  imagination  without  loss  by 
the  way  the  thought  or  image  intended  to  be  conveyed 
by  the  author, — to  attempt  its  sokition  rather  by  the 
arrangement  of  the  book  as  a  whole,  with  due  regard 
to  its  parts  and  emphasis  of  its  divisions,  than  by  the 
splendor  of  ornament,  intermittent  page  after  page. 

Nicolas  Jensen  was  a  Frenchman  who  from  1460  to  1480 
published  books  in  Venice.  In  common  with  all  early  printers, 
he  made  his  own  type,  using  gothic  and  the  newly  invented 
Roman  and  Greek  characters.  He  designed  a  beautiful  roman 
type,  clear  and  regular,  which  in  1889  served  as  a  model  for 
the  Golden  Type  of  William  Morris. 

Erhard  Ratdolt  was  an  early  Venetian  printer,  1476-1485. 
He  was  among  the  first  printers  to  print  flowered  borders  and 
initials  from  woodcuts  instead  of  the  rubricated  initials  produced 
by  hand.  His  work  is  remarkable  for  the  beauty  both  of  its 
illustrations  and  of  its  type. 

The  Aldine  Press,  best  known  of  the  early  presses,  was 
founded  at  Venice  in  1494  by  Manutius  Aldus.  Aldus  was  a 
scholar    as    well  as   a   printer,   and    he   printed    many    Greek 


ART  IN   PRINTING  107 

books.  He  also  designed  italic  type,  imitating  in  this  the  hand- 
writing of  Petrarch.  His  descendants  carried  on  the  work  after 
his  death.  The  Aldine  books  bear  the  sign  of  the  dolphin  and 
anchor. 

William  Morris,  an  English  artist  and  craftsman  who  be- 
lieved that  all  art  should  be  used  for  the  benefit  of  humanity, 
founded  the  Kelmscott  Press  in  London.  Influenced  by  his 
study  of  early  typography,  he  designed  three  styles  of  type 
which  he  used  in  his  work.  His  books  were  lavishly  decorated 
with  initial  letters  and  borders  in  keeping  with  the  type. 

The  excellence  of  his  work  affected  printing  in  both  England 
and  America.  Better  styles  of  type  came  into  use,  and  many 
other  private  printing  houses  with  high  ideals  were  established. 
Among  these  was  the  Doves  Press  of  Cobden-Sanderson,  also  in 
London. 

The  books  printed  by  the  Doves  Press  are  devoid  of  ornament, 
but  the  simplicity  of  design  and  the  perfection  of  execution 
make  them  even  more  attractive  to  many  readers  than  are  the 
Kelmscott  books. 


CHAPTER   XIII 
HOW  TO  MAKE  ILLUSTRATIONS 

Any  boy  or  girl  skilled  in  handicraft  can  design 
and  make  simple  illustrations  for  his  own  printing. 
In  drawing  a  design  the  principles  of  art  empha- 
sized in  chapter  xii  should  be  carefully  observed. 
But  it  is  always  to  be  borne  in  rrAnd  that  illus- 
trations which  are  to  be  reprodiiced  by  the  children 
themselves  in  form  for  printing  should  contain  nc 
attempt  at  gradation  of  tone — outline  work  and 
mass  drawing  only  are  possible.  Head-  and  tail- 
pieces, silhouettes,  and  any  simple  drawing  which 
tells  a  story  in  a  few  lines  can  be  easily  managed 
and  make  charming  additions  to  any  book. 

Two  methods  of  reproduction,  the  zinc  etching 
and  the  woodcut,  are  open  to  the  young  illus- 
trator. The  woodcut  is  a  ruder  form  of  expres- 
sion, but  is  none  the  less  effective.  Its  purpose 
is  not  to  express  light  and  shade,  but  form.  As  a 
medium  of  illustration,  wood  lends  itself  well  to 
broad  lines  and  masses;  hence,  the  pupil  is  advised 
to  begin  with  wood  engraving.     (See  Figs.  45,  46.) 

Commercial  engravers  generally  use  boxwood, 
which,  owing  to  the  grain  of  the  wood,  cuts  easily 

108 


THE  CENTENNIAL 


t: 


CARTER  PRACTICE 
SCHOOL  JUNE,  1918 


Fig.  45.     Cover  design  for  "  The  Centennial"  cut  in  wood  by  the 
pupils  of  the  Carter  Practice  School,  Chicago 

109 


110 


HOW  TO  MAKE  ILLUSTRATIONS  111 

and  evenly  and  is  therefore  the  best  wood  for 
engraving.  But  boxwood  is  imported,  it  is  diffi- 
cult to  secure,  and  it  is  expensive.  Art  illustrators 
sometimes  draw  on  pear,  apple,  or  other  hard 
woods,  especially  if  the  printing  is  to  be  done 
directly  from  the  woodcut.  Pine  cuts  well,  but 
is  soft  and  can  be  used  only  when  the  cut  is  to  be 
electrotyped.  Many  amateurs  select  birch,  maple, 
or  black  walnut,  all  of  which  can  be  used.  Red 
gum  has  also  proved  fairly  satisfactory  for  the 
purpose.  The  board  should  first  be  carefully 
planed  to  a  uniform  thickness  of  0. 918  inch  (type- 
high),  and  then  sawed  into  pieces  of  suitable 
size. 

The  design  may  be  drawn  on  paper  and  trans- 
ferred to  the  wood,  but,  if  the  pupil  is  reasonably 
skillful,  it  is  more  direct  to  draw  at  once  upon  the 
wood.  If  the  picture  has  a  right  and  a  left  side, 
the  drawing  must  be  done  in  reverse.  This, 
however,  is  not  a  difficult  thing  to  do,  for  by  the 
use  of  tracing  paper,  which  will  show  the  design  on 
both  sides,  and  carbon  paper,  the  drawing  can  be 
traced  in  reverse  on  the  wood.  Pupils  can  make 
their  own  carbon  by  rubbing  the  back  of  a  piece 
of  paper  with  a  crayon  pencil.  Sometimes  the 
artist  photographs  his  picture  on  the  wood.  For 
this  purpose  the  wood  is  covered  with  a  sensitized 
wash  and  a  print  made  on  it  in  the  same  manner 
that  blueprints  are  made. 


112  THE  SCHOOL  PRINTSHOP 

Few  tools  are  needed.  The  earliest  engravers, 
indeed,  worked  only  with  a  knife.  Engravers' 
tools  cost  from  thirty-five  cents  to  one  dollar  each 
and  can  be  purchased  at  a  jeweler's  establishment. 
Usually  from  two  to  six  tools  are  enough.  All 
lines  of  the  drawing  should  be  carefully  cut  around 
with  a  knife  or  a  small  veining  tool.  Then  with  a 
chisel  or  gouge  the  background  should  be  cut  out 
deep  enough  not  to  print.  The  result  shows  the 
design  in  relief ;  from  this  the  print  is  made. 

Young  pupils  who  cannot  readily  cut  in  wood 
may  obtain  similar  results  with  less  effort  by 
using  a  piece  of  battleship  linoleum  mounted  on 
wood,  the  whole  to  be  type-high.  It  cuts  easily 
and  prints  very  well,  although,  of  course,  the  grain 
of  the  wood  is  lacking  (Fig.  47). 

The  woodcut  may  be  locked  in  the  form  with 
type  and  printed  on  the  school  press.  Commer- 
cial shops  do  not  ordinarily  print  directly  from 
the  woodcut,  but,  as  in  pages  of  type  for  book- 
work,  an  electroplate  is  made.  This  is  necessary 
because  the  action  of  the  large  presses  in  printing 
the  immense  editions  usually  required  would 
batter  down  the  wood. 

In  the  making  of  an  etching  (Figs.  48,  49)  the 
design  is  placed  upon  the  zinc  plate,  which  is 
.usually  about  one-sixteenth  of  an  inch  in  thickness. 
With  a  water-color  brush  all  parts  of  the  design 
which  are  to  be  left  in  relief  should  be  carefully 


Fig.  47.     Cuts  made  in  linoleum  by  Robert  Harding,  sixth 
grade,  University  Elementary  School,  Chicago 

113 


Fig.  48.     Zinc-etching  made  by  elementary 

school  pupils  of  the  Blooniington, 

Illinois,  Public  School 


114 


HOW  TO   MAKE   ILLUSTRATIONS  115 

painted  over  with  asphalt  varnish  to  resist  the 
action  of  the  acid.  The  back  of  the  metal  should 
also  be  covered  with  a  wash  of  varnish.  The  var- 
nish should  be  applied  with  great  care,  no  air  holes 
should  be  left,  and  the  varnish  line  should  be 
slightly  broader  than  the  line  of  the  drawing. 

When  it  is  perfectly  dry  the  plate  should  be 
immersed  in  the  acid  bath.  This  consists  of  a 
solution  (10  to  20  per  cent)  of  nitric  acid  in  a 
glass  or  porcelain  tray.  The  plate  should  remain 
in  the  bath  until  the  acid  has  eaten  down  the 
parts  not  covered  by  the  varnish.  This  will  require 
from  five  to  twenty-four  hours,  depending  upon 
the  strength  of  the  solution.  The  plate  need 
not  remain  in  the  bath  continuously.  It  should 
be  taken  out  at  intervals  and  examined.  It  may 
require  an  additional  wash  of  varnish.  It  may 
be  advisable  to  make  a  fresh  solution  of  nitric 
acid.  Shaking  the  tray  will  hasten  the  etching. 
When  the  plate  is  etched  deeply  enough — that 
is,  when  the  ridges  stand  up  enough  for  print- 
ing— it  should  be  taken  out  of  the  bath  and 
the  varnish  removed.  The  plate  may  be  heated 
to  soften  the  varnish,  and  then  soaked  in  tur- 
pentine or  kerosene.  The  varnish  can  then  be 
rubbed  off  with  a  soft  cloth. 

The  plate  should  be  mounted  on  a  block  of  wood 
by  means  of  small  nails.     The  cut  when  mounted 
must  be  exactly  type-high. 
9 


Fig.  49.     Zinc  etching  made  by  elementary- 
school  pupils  of  the  Bloomington,  Illinois, 
Public  School 


116 


CHAPTER   XIV 
PAPER 

While  all  paper  is  made  according  to  the  same 
general  plan,  various  blendings  of  the  materials 
and  modifications  of  the  machinery  used  enable 
the  manufacturers  to  produce  many  kinds  of  paper 
suited  to  different  purposes.  Some  knowledge 
of  the  different  ways  of  finishing  paper,  of  the 
qualities  that  adapt  it  to  a  particular  use,  of  the 
size  and  weight  of  the  sheet  or  web  in  which  it  is 
formed,  and  of  how  to  order  it  from  the  dealer, 
is  to  the  printer  indispensable. 

The  school  printshop  will  make  some  use  of 
print  paper,  book  paper,  writing  paper,  cover 
paper,  and  cardboard. 

Print  paper  is  a  cheap  paper  made  largely  from 
mechanical  wood  pulp.  It  is  used  for  printing 
newspapers,  cheap  magazines,  mail-order  cata- 
logs, and  directories.  It  usually  comes  in  rolls  of 
different  widths,  the  weight  varying  from  100  to 
1,000  pounds.     It  is  also  cut  into  sheets. 

Book  paper,  because  the  work  is  to  be  last- 
ing, is  of  greater  importance  to  the  printer  than 
other  kinds  of  paper.     Antique  paper  is  used  for 

117 


118  THE    SCHOOL   PRINTSHOP 

high-class  book  work.  It  is  uncalendered — that  is, 
not  pressed  by  heated  rolls — and  has  consequently 
a  rough  surface.  It  requires  more  ink  to  make  an 
impression  on  a  rough  surface  than  on  a  smooth 
one;  therefore  a  large  size  of  type  which  does  not 
easily  fill  up  with  ink  is  better  than  small  type  for 
printing  on  antique  paper.  It  is  not  well  adapted 
to  illustrations,  except  possibly  very  coarse  zinc 
etchings.  Fine  halftones,  unless  they  are  deeply 
engraved  and  printed  by  the  offset  process,  cannot 
be  printed  on  its  rough  surface.  For  that  reason 
books  printed  on  antique  paper  have  their  half- 
tones printed  on  enameled  paper  and  inserted. 

Machine-finish  paper  is  that  which  has  been 
passed  over  the  calender  rolls  in  the  paper  machine 
in  order  to  smooth  and  make  even  the  surface.  A 
slight  calendering  gives  a  medium  finish.  After 
leaving  the  paper  machine,  some  paper  is  extra- 
or  super-calendered,  that  is,  run  through  a  stack 
of  calenders,  which  consists  of  rolls  made  of  steel, 
cotton,  or  granite,  placed  one  above  another.  The 
different  finishes  depend  largely  upon  the  partic- 
ular roll  it  is  run  over  and  the  number  of  times 
it  passes  through  the  calenders.  English -finish 
papers  are  finished  on  cotton  rolls,  not  steel. 
Machine- finish  book  paper  offers  a  good  surface 
for  small  type  and  for  photo- engravings  and 
electros.  It  is  used  for  printing  magazines,  high- 
class  catalogs,  and  school  books. 


PAPER  119 

Enameled  or  coated  paper  is  obtained  by  apply- 
ing a  veneer  of  clay,  glue,  and  sizing  to  the  surface 
of  machine-finish  paper.  This  is  usually  done 
when  the  paper  is  in  the  web  in  a  coating  fac- 
tory. The  paper  is  run  through  a  box  containing 
the  coating  material,  and  brushes  passing  over 
the  paper  distribute  the  coating  evenly  over  its 
surface.  It  is  then  dried  by  being  passed  over 
steam  pipes,  and  from  these  it  passes  to  the  calen- 
dering machine  which  gives  it  the  gloss.  Dull- 
finish  coated  papers  are  calendered  with  felt 
rolls.  The  process  of  coating  results  in  a  smooth, 
fine  surface  which  is  desirable  for  reproducing 
the  finest  halftone  engravings  or  color  plates. 

A  variety  of  paper  comes  under  the  heading  of 
writing  paper — flat  writing  paper,  bond  paper, 
and  ledger  paper.  Writing  paper  should  be 
smooth  and  hard  (but  not  glazed)  for  bearing  ink. 
High-grade  writing  paper  is  used  for  fancy  sta- 
tionery and  documents  of  importance;  bond 
paper  is  used  mostly  for  commercial  letterheads, 
envelopes,  blanks,  and  other  business  stationery. 
Ledger  papers  are  strong  in  texture  and  are  made 
up  into  account  books  and  ledgers  which  must 
withstand  the  wear  of  constant  use. 

The  fibers  of  which  cover  papers  are  made  must 
be  very  strong,  for  strength  and  toughness  are 
essential  to  cover  papers,  which  are  used  to  protect 
the  inside  sheets.     Coloring  matter  for  these  is 


120  THE  SCHOOL  PRKNTSHOP 

usually  put  into  the  pulp.  Cover  papers  are 
thicker  than  book  paper.  Sometimes  they  are 
made  so  in  the  pulp;  sometimes  two  sheets 
are  put  together  in  the  web.  Cover  paper  is  sold 
by  the  pound,  or  sometimes  by  the  ream  (500 
sheets),  and  may  be  obtained   in    any  quantity. 

Bond  papers  and  cover  papers  are  finished  by 
an  entirely  different  process  from  that  used  in 
finishing  book  papers.  They  are  first  made  on 
the  machine  in  the  antique  finish,  then  cut  to 
the  desired  size,  and  finislied  by  means  of  cloth 
placed  between  the  sheets  of  paper,  and  pressure. 
Linen  or  cotton  cloth  w^hich  has  the  finish  desired 
in  the  paper  is  used,  each  sheet  of  paper  being 
covered  by  a  sheet  of  cloth.  These  sheets  are 
made  into  a  pile  (called  a  book)  and  then  placed 
in  a  pressing  machine  and  pressed.  The  design 
of  the  cloth  is  thus  impressed  upon  the  paper. 

Cardboard  is  of  different  thicknesses.  It  is 
sometimes  made  to  the  required  thickness  when 
run  on  the  machine,  sometimes  made  of  layers 
of  paper  pasted  together,  as  indicated  by  the 
names  two-ply,  three-ply,  and  so  on.  Pasted  card- 
board can  be  detected  from  the  other  kind  by 
holding  a  lighted  match  to  one  corner  and  noting 
whether  the  layers  separate.  If  they  do,  the  card- 
board is  pasted.  Cardboard  is  given  a  smooth  fin- 
ish on  both  sides.  It  is  used  for  business  cards 
and  other  purposes   for   which    a   stiff  board  is 


PAPER  -  121 

required.  It  is  made  in  many  grades  and  colors 
and  is  usually  priced  by  the  hundred  sheets. 

In  the  manufacture  of  paper  a  vegetable  size  is 
mixed  with  the  pulp  in  the  beater.  For  book 
paper  and  cheap  writing  paper  this  is  sufficient. 
Good  grades  of  writing  paper  are  further  sized  and 
thus  rendered  impervious  to  ink  by  passing  the 
web  of  paper,  after  the  paper  has  been  formed, 
into  a  vat  of  hot  animal  size — that  is,  a  size  made 
from  the  horns  and  hoofs  of  animals.  Blotting 
paper  is  altogether  unsized. 

Paper  may  be  laid  or  wove.  Laid  paper  is 
water-marked  paper  with  heavy  lines  running 
with  the  grain  and  light  lines  running  across. 
Wove  paper  is  made  with  fine  lines  running  in 
both  directions. 

Where  possible,  paper  that  is  to  be  used  folded 
should  be  folded  with  the  grain,  as  it  folds  more 
easily,  looks  better,  and  does  not  crack  so  readily 
as  when  folded  across  the  grain.  The  grain — that 
is,  direction  of  the  fiber — may  be  determined  by 
tearing,  as  the  tear  with  the  fiber  is  straighter  and 
more  easily  made  than  that  across  the  grain. 

Book  paper  comes  from  the  mill  in  sheets.  It 
is  made  in  a  web  and  then  cut  into  sheets.  It  is 
usually  priced  by  the  pound  and  on  the  basis 
of  ream  lots  (500  sheets).  If  less  than  a  full 
package  is  ordered,  the  price  is  more  proportion- 
ally than  when  the  full  package  is  taken. 


122 


THE   SCHOOL  PRINTSHOP 


The  usual  sizes  and  weights  are: 


Weight 

(Pounds  to  the  Ream) 

24X36 

36 

45 

55 

64 

37 

25X38 

40 

50 

60 

70 

80 

28X42 

50 

62 

74 

86 

99 

32X44 

60 

74 

89 

104 

119 

38 


to 

1 

Fig.  50.     Showing  hoiv  to  cut  a  ^5X38  sheet  of  stock  into 
6}^  X^M  inch  pieces  without  waste 

The  various  sizes  enable  one  to  cut  stock  with 
a  minimum  of  waste.  For  instance,  if  paper 
6^X91^  is  to  be  used,  25X38  will  cut  exactly 
sixteen  pieces  without  waste  (Fig.  50). 

25X38 

6MX9H 
4X4=1G 


PAPER 


123 


The  paper  is  to  be  5X7.     The  stock  measures 
24X36. 
24X36 
5X7 

4X5  =  20,  with  strips  of  waste  4X36  and  1X20 

If  cut  the  other  way, 

24X36 
7X5 
3X7  =  21,  with  strips  of  waste  3X36  and  1X21. 

This  is  the  better  way  to  cut  this  sheet. 


-44 


f\3 


15 

15 

10 

4 

1 

c^                   fVa,  ste 
30 

14 

■^ 
^ 

Fig.  51.     Showing  how  to  cut  a  28X44  sheet  of  stock  into  10X15 
inch  pieces  {less  economical  ivay  than  that  shown  in  Fig.  52) 

The  sheet  is  28X44.  The  paper  is  to  be  cut 
10X15.  The  diagrams  (Figs.  51,  52)  illustrate 
the  method  of  cutting  the  paper  to  get  the  most 
out  of  a  sheet. 


124 


THE    SCHOOL    PRINTSHOP 


In  this  case  the  waste  part  that  is  trimmed  off 
should  be  saved  for  future  use. 

< 44 ^ 


/o 

10 

10 

10 

4 

1 

15 

15 

14 

"0 

^o 

rVa-ste 

30 

Fig.  52.     Showing  hoii)  to  cut  a  ^5X44  sheet  of  stock  into 
10X15  inch  pieces  with  least  waste 

If  print  paper  is  cut  into  sheets,  the  usual  size 
is  24X36 — 32  pounds  to  the  ream. 

It  is  sometimes  necessary  to  know  the  equiva- 
lent weight  of  one  size  of  paper  in  a  larger  or 
smaller  size.     For  instance: 

The  stock  is  25X38  —  40  pounds.  I  wish  to 
use  size  32X44.     What  weight  shall  I  order? 

38X25—40. 

38X25  =  950  square  inches. 

32X44=1,408  square  inches. 

1,408x40  =  56,320. 

56,320-950  =  59  +  . 

Use  60  pounds  weight. 

Or  stated  proportionally:  25X38  :  32X44  ::  40  :  60. 


CHAPTER   XV 
SUGGESTIONS  TO  YOUNG  PRINTERS 

The  first  sections  of  this  chapter  are  made  up 
of  suggestions  for  avoiding  common,  everyday 
errors.  It  would  not  be  possible  to  include  all 
such  mistakes  in  one  list;  hence  those  which  occur 
most  frequently  are  given  here.  Each  pupil  is 
advised  to  keep  a  notebook  for  suggestions,  hints, 
and  "Don'ts,"  and  from  time  to  time  to  add  to 
this  list  such  other  mistakes  as  come  to  notice. 

The  composing-room  and  press  suggestions  are 
more  or  less  a  summing  up  of  earlier  chapters,  but 
their  importance  justifies  their  repetition  here  in 
this  form.  They  should  be  read  and  re-read  until 
the  pupil  is  so  familiar  with  them  that  he  will 
automatically  follow  them. 

English 

1.  Its  is  the  possessive  adjective.  It's  is  the 
contraction  for  it  is. 

2.  Further  means  moreover.  Farther  means  at 
a  greater  distance. 

3.  Their  is  the  possessive  adjective.  There  is 
an   adverb    meaning    in   that   place,    or    it    is    an 

125 


126  THE    SCHOOL    PRINTSHOP 

introductory  word;  for  example,  There  were  giants 
in  those  days. 

4.  A  pronoun  never  requires  the  possessive  sign : 
his,  hers,  theirs,  yours,  ours. 

5.  Make  two  words  of  all  right. 

6.  Do  not  confuse  already  with  all  ready;  nor 
altogether  with  all  together. 

7.  Then  and  than  are  different  words. 

Punctuation 

1 .  A  contraction  is  not  an  abbreviation  and  does 
not  require  a  period.     The  apostrophe  is  sufficient : 

weren't  hasn't  ni'f  g  plant 

Ours  isn't  the  same  as  yours. 

2.  The  period  and  the  comma  are  always  placed 
inside  the  quotation  marks  (see  page  80) : 

"A  stitch  in  time  saves  nine." 

3.  The  comma  is  always  placed  outside  the 
parenthesis  if  the  context  requires  its  use: 

The  majority  of  cannas,  however,  are  grown  from 
pieces  of  the  roots  (rhizomes),  each  piece  having  a  bud. 

4.  The  period  is  placed  on  the  outside  of  a  paren- 
thesis except  when  the  thought  within  the  paren- 
thesis is  complete  and  independent: 

•The  plant  is  cucurbitaceous  (allied  to  melons  and 
gourds) . 

The  composing  rule  has  already  been  described.  (See 
page  34.) 


SUGGESTIONS   TO   YOUNG   PRINTERS  127 

The  Composing  Room 

1.  Examine  your  composing  stick  occasionally, 
as  it  may  work  loose  when  you  are  using  it. 

2.  Keep  your  case  in  order.  A  mixed  case 
indicates  a  poor  workman.  • 

3.  If  you  drop  a  piece  of  type  on  the  floor, 
pick  it  up  at  once. 

4.  Return  leads  to  their  proper  place.  Do  not 
leave  them  at  the  case  or  on  the  stone. 

5.  Be  careful  of  all  material.  A  good  workman 
takes  good  care  of  his  tools. 

6.  Labor-saving  wood  furniture  must  not  be 
wet.     It  will  shrink. 

7.  When  correcting  a  line  which  requires 
respacing,  do  it  in  the  stick  and  not  on  the  galley. 

8.  Do  not  distribute  pi  from  your  hand.  Set 
it  up  in  the  stick. 

9.  Do  not  use  too  much  ink  in  taking  proofs. 
Try  to  secure  a  gray  proof. 

10.  Do  not  lay  the  proof-planer  down  on  the 
stone.     It  collects  dirt  in  that  position. 

11.  Have  your  eye  on  the  particular  piece  of 
type  that  you  wish  to  pick  up  and  pick  it  up 
with  the  nick  toward  you,  if  possible,  so  that  you 
need  not  turn  it  in  your  hand  before  setting  it  in 
the  stick. 

12.  Keep  your  mouth  closed  and  your  mind  on 
your  work  if  you  would  avoid  errors. 


128  THE   SCHOOL   PRINTSHOP 

13.  Letter  spacing  is  very  unworkmanlike  and 
should  not  be  resorted  to  except  in  very  narrow 
measure. 

14.  When  it  is  necessary  to  increase  the  spacing 
in  a  line,  do  so  after  the  kerned  letters,  as  /,  /, 
then  after  the  ascending  letters,  as  b,  h,  I,  then 
after  the  descending  letters,  as  g,  y,  and  after  any 
punctuation  marks  except  the  comma. 

15.  Never  thin-space  (space  less  than  a  5-em) 
a  line  or  em-quad  it. 

16.  Short  words  require  the  same  sized  space 
before  them  as  after  them. 

17.  Use  two  commas  with  the  nicks  down  to 
begin  any  quote  marks;  use  two  apostrophes  for 
ending  quote  marks. 

18.  Set  B.C.  and  a.d.,  a.m.  and  p.m.,  in  small 
caps  close  or  with  thin  space  between  them. 

19.  The  hyphen,  the  en  dash,  and  the  em  dash 
are  not  interchangeable.  The  hyphen  is  used 
only  in  compound  words  and  to  indicate  the  divi- 
sion of  a  syllable  at  the  end  of  a  line.  The  en  dash 
is  seldom  used  except  to  connect  two  dates;  for 
example,  1914-1915.  The  em  dash  is  sometimes 
used  in  parenthetical  expressions,  to  connect  the 
end  of  the  text  with  the  name  of  the  author, 
and  it  may  be  used  to  mark  a  sudden  change  in 
a  thought  or  statement.  Many  writers  use  it 
instead  of  other  punctuation  marks. 


SUGGESTIONS  TO  YOUNG  PRINTERS         129 

20.  Do  not  let  the  last  line  of  a  paragraph  con- 
sist of  a  single  short  word  or  syllable.  Do  not 
begin  a  page  with  the  last  line  of  a  paragraph. 

21.  Do  not  let  more  than  two  consecutive  lines 
end  with  punctuation  or  hyphens. 

22.  Set  up  columns  of  figures  with  the  decimal 
points  in  a  vertical  line. 

23.  One  line  drawn  under  a  word  or  words  in 
the  copy  means,  Set  it  in  italics ;  two  lines  under  a 
word  or  words  mean,  Set  it  in  small  capitals; 
three  lines  mean,  Set  it  in  capitals.  A  wavy  line 
means,  Set  it  in  boldface. 

24.  Read  copy  a  few  words  ahead.  This  enables 
you  to  grasp  the  meaning  and  thus  avoid  mistakes. 

The  Press 

1.  See  that  the  press  is  well  oiled  before  starting. 

2.  Note  the  position  of  the  grippers  before 
taking  an  impression. 

3.  Place  the  sheets  of  paper  lightly  against  the 
feed  gauges.  Never  touch  the  printing  when 
removing  the  paper. 

4.  In  feeding,  handle  the  stock  with  care.  Be 
sure  your  hands  are  clean.  Grasp  the  paper 
lightly.  Do  not  draw  your  thumb  and  finger 
across  the  paper.  Do  not  wet  your  finger  with 
your  tongue.  Use  glycerin  if  your  fingers  are 
too  drv. 


130  THE    SCHOOL    PRINTSHOP 

5.  Never  place  your  hands  or  feet  against  any 
part  of  the  press  while  it  is  in  motion. 

6.  Always  stop  the  press  before  leaving  it,  even 
if  you  are  only  going  to  cross  the  room.  A  cut 
or  quoin  falling  out  would  probably  break  the 
press. 

7.  Keep  the  ink  covered;  keep  the  ink  knife 
clean. 

8.  Be  very  careful  in  handling  ink  not  to  smear 
it  on  the  outside  of  the  tube  or  can. 

9.  Do  not  leave  the  rollers  resting  on  the  disk 
or  on  the  type. 

10.  Do  not  leave  the  rollers  dry  at  night. 
Apply  a  few  drops  of  oil. 

11.  Waste  paper  should  be  placed  in  a  waste 
basket,  not  allowed  to  accumulate  on  the  floor. 

12.  Waste  used  in  washing  up  the  press  should 
be  kept  in  a  covered  metal  receptacle.  Being 
saturated  with  benzine,  it  is  easily  inflammable. 

13.  Do  not  talk  while  you  are  running  the  press. 
Keep  your  attention  on  your  work.     It  is  safer. 


APPENDIX   FOR   TEACHERS 


10 


Let  no  act  he  done  haphazard,  nor  other- 
wise than  according  to  the  finished  rules  that 
govern  its  kind. 

— Marcus  Aurelius 


APPENDIX   FOR   TEACHERS 

A.    THE  VALUE  OF  PRINTING  AS 
AN  EDUCATIONAL  SUBJECT 

Two  views  prevail  as  to  the  place  of  printing  in 
education.  The  advocates  of  vocational  training 
believe  that  printing  should  be  taught  in  industrial 
classes  to  such  boys  as  expect  to  become  printers. 
They  hold  that  the  pu:-pose  of  teaching  it  is  to  train 
a  boy  in  the  technic  of  the  trade,  to  teach  him  to 
turn  out  good  printing  according  to  accepted  com- 
mercial standards,  and  to  fit  him  to  enter  the  ranks 
of  industry.  There  are  other  educators  who  believe 
that  printing  is  a  means  to  general  education;  that 
it  is  a  manual-training  subject  based  upon  the  same 
general  principles  that  underlie  all  the  manual  arts, 
and  as  such  it  should  be  taught  to  all  pupils. 

It  is  upon  this  latter  conception  of  its  purpose  that 
the  work  in  the  School  of  Education  is  based.  The 
idea  is  broad  enough  in  scope  to  include  many  of  the 
basic  demands  of  vocational  training.  The  pupil  who 
learns  printing  must  gain  control  of  his  tools.  He 
must  learn  what  can  and  what  cannot  be  done  with 
printshop  material.  He  must  measure  his  own  work 
by  accepted  printing  standards.  In  everything  but 
speed,   which  should  not  figure  largely  in   a  school 

133 


134  APPENDIX 

printshop,  the  work  furnishes  the  training  desired  by 
the  master  printer.  Furthermore,  if  the  pupil  has 
estabHshed  correct  habits  of  doing  his  work,  if  he  has 
been  so  trained  that  he  has  nothing  to  unlearn  in  the 
shop,  the  lack  of  speed  may  be  readily  overcome. 
Moreover,  the  general  course,  since  it  is  fuller  and 
broader,  may  prove  to  be  a  valuable  asset  to  the  boy 
who  when  he  has  completed  his  school  work  chooses 
printing  for  his  life's  occupation. 

At  some  point  or  other  printing  touches  every 
study  and  every  force  in  the  school.  Though  it  is  not 
dependent  upon  the  other  subjects  in  the  curriculum 
for  its  intellectual  content,  it  does  make  practical 
demands  upon  the  English,  the  history,  the  science, 
the  mathematics,  and  the  art  of  the  school,  and 
in  return  it  reinforces  and  vitalizes  these  subjects. 

Something  of  history  should  enter  into  a  course  in 
printing,  for  the  pupil  will  have  a  greater  appreciation 
of  the  industry  if  he  has,  for  instance,  knowledge  of 
early  methods  of  bookmaking,  if  he  knows  the  effect 
upon  the  world  of  the  invention  and  development  of 
printing.  These  facts  are  more  significant  if  taught 
in  connection  with  printing  than  when  learned  simply 
as  historical  facts  apart  from  the  shopwork.  They 
cause  the  pupil  to  think,  and  lead  to  such  questions  as: 
Since  China  used  movable  type  and  invented  paper, 
why  did  she  not  develop  the  art  of  printing?  Why 
for  twenty  years  after  Coster  and  Gutenberg  did  the 
art  remain  stationary? 

The  manufacture  of  the  various  materials  used  by 
the  printer  (the  industrial  history  of  the  present)  is 


PRINTING   AS   AN    EDUCATIONAL   SUBJECT     135 

also  full  of  meaning  and  interest.  Those  processes 
arouse  many  questions  which  can  be  answered  only 
by  some  knowledge  of  science.  What  is  cellulose? 
What  causes  the  odor  that  arises  when  paper  is  made 
from  wood?  Why  are  antimony  and  tin  mixed  with 
the  lead  in  making  type  metal? 

The  answers  not  only  help  the  child  to  understand 
the  process  he  is  studying,  but  are  sometimes  of  further 
value  in  teaching  him  why  the  article  in  question — 
type,  for  instance — requires  careful  handling.  A  series 
of  readings  on  the  history  of  printing  and  on  allied 
subjects  should  form  part  of  the  course.  The  order 
of  their  arrangement  in  the  course  should  be  deter- 
mined partly  by  the  relation  of  the  topic  to  the  other 
work  of  the  child,  and  partly  by  the  difficulty  of  the 
process  described. 

Perhaps  no  subject  asks  more  of  art  than  does 
printing,  for  into  every  printing  problem  comes  an 
art  problem.  The  choice  of  type,  the  spacing,  the 
shape  of  the  type  mass,  the  shape  and  size  of  the 
paper,  the  margins,  the  decoration  of  the  page,  the 
initial  letter,  all  are  points  to  be  considered  in  every 
bit  of  work  done  in  the  shop.  The  principles  of  art 
are  taught  by  the  art  teacher  in  the  art  class.  These 
same  principles  as  applied  to  printing  are  emphasized 
in  the  printshop  when  the  pupil  feels  the  necessity 
of  knowing  them  in  order  to  apply  them.  The  close 
relation  that  exists  between  art  and  printing,  and  the 
advantage  of  receiving  the  art  from  another  and 
different  source,  give  to  the  child  an  added  power  in 
the  application  of  these  principles. 


136  APPENDIX 

In  the  same  manner  printing  demands  a  knowledge 
of  the  fundamentals  of  English.  The  pupil  realizes 
that  he  cannot  print  without  that  knowledge.  He  is 
driven  to  the  dictionary  to  learn  how  to  divide  a  word, 
or  to  his  manual  for  some  forgotten  or  never  learned 
rule  of  punctuation.  This  searching  for  what  he 
wishes  to  know  in  order  to  make  direct  application  of 
it  helps  the  pupil  to  remember  the  general  rule  as  well 
as  its  specific  application.  To  illustrate :  A  pupil  may 
place  a  period  after  a  title.  When  asked  why,  he  has 
no  particular  reason — merely  thinks  it  is  customary. 
Then  he  is  questioned  as  to  the  rules  for  the  use  of 
the  period.  He  may  recite  them  glibly  or  he  may 
refer  to  his  manual.  He  finds  (a)  a  period  is  used  to 
mark  the  end  of  a  declarative  or  an  imperative  sen- 
tence; (b)  a  period  is  used  to  indicate  an  abbreviation. 
Clearly  the  period  after  the  title  falls  under  neither  of 
these  rules,  nor  does  the  special  note  in  his  manual 
account  for  it.  Therefore  the  period  does  not  belong 
there.  He  is  further  instructed  in  the  practice  of 
to-day  by  an  examination  of  standard  books.  In  all 
his  written  and  oral  work  the  pupil  has  been  trained 
in  the  correct  use  of  English  forms,  but  the  training 
in  the  printshop  is  more  effective  because  failure  to 
know  the  form  and  apply  the  rule  results  in  much 
unnecessary  work,  which  the  pupil  must  do  in  order 
to  attain  a  result  which  he  himself  desires.  In  time 
the  pupil  forms  the  habit  of  using  the  dictionary;  it 
comes  to  be  a  real  friend;  he  spells  correctly;  his  use 
of  the  mechanics  of  English  becomes  automatic.  He 
is  quick  to  recognize  and  correct  errors  in  copy. 


PRINTING   AS   AN    EDUCATIONAL    SUBJECT     137 

The  mathematical  problems  are  for  the  most  part 
those  of  measuring,  but  as  they  require  accuracy  they 
are  important.  The  guide  pins  must  be  placed 
exactly,  or  the  page  is  crooked.  Spacing  cannot  be 
reduced  to  a  mathematical  basis,  as  is  attempted  in 
some  schools,  for  the  aim  is  spacing  that  appears 
even,  and  other  factors  enter  into  the  problem.  But 
the  pupils  are  aided  in  learning  the  relative  sizes  of 
spaces  and  the  combinations  that  may  be  made  with 
them  by  a  drill  in  fractions,  using  the  spaces  as  the 
Ijasis  for  such  drill.  In  the  elementary  school  the 
commercial  side  of  the  work  should  be  kept  in  the 
background,  but  in  the  high  school  the  pupil  who 
buys  paper  or  cardboard  for  his  work  is  interested  in 
]-)lanning  the  number  of  pieces  he  can  cut  from  a  given 
sized  sheet,  and  in  figuring  for  himself  its  cost. 

Printing  as  construction  work  makes  as  strong  an 
appeal  to  girls  as  it  does  to  boys.  This  is  partly 
because  it  demands  deft  fingers  rather  than  special 
manual  skill  and  partly  because  of  its  artistic  nature. 
The  work  tends  to  develop  the  child's  ingenuity, 
because  the  medium  is  not  flexible.  At  the  same 
time  mistakes  can  be  corrected,  so  that  discourage- 
ment does  not  follow  failure.  It  makes  for  habits  of 
order,  carefulness,  honesty,  directness  of  purpose,  and 
other  virtues.  It  develops  initiative  in  the  child  and 
satisfies  his  natural  desire  to  do  creative  work. 
Withal,  it  gives  a  regard  for  books,  an  appreciation  of 
their  artistic  worth  as  well  as  of  their  intellectual  content. 

Printing  is  an  incentive  to  social  service,  for  it  is 
in  its  very  nature  a  social  occupation.     One  never 


138  APPENDIX 

prints  for  the  sake  of  printing — there  is  ahvays  need 
of  the  output,  a  product  which  is  rarely  if  ever  made 
for  the  printer  himself.  It  is  done  for  the  home,  or 
the  school,  or  the  larger  life  outside  the  school.  To 
print  from  this  motive,  to  perform  an  act  of  social 
usefulness,  reacts  upon  the  pupil.  If  he  is  producing 
something  he  knows  is  really  needed  in  the  community, 
he  comes  to  feel  himself  a  necessary  part  of  the  com- 
munity. It  thus  becomes  his  community,  valuable  to 
him  for  what  he  has  put  into  it.  He  takes  a  pride  in 
making  it  good,  and  in  being  himself  a  good  citizen 
thereof.  Oftentimes  by  this  means  an  indifferent, 
lawless  lad  is  led  to  recognize  his  social  responsibilities. 
The  printing  problems  are  great  enough  to  engage 
the  attention  and  the  efforts  of  the  entire  school. 
Cooperation  on  a  piece  of  work  results  necessarily  in 
unity.  In  the  printing  of  a  book  for  some  special 
purpose,  or  a  school  calendar,  or  any  similar  project, 
the  other  departments  of  the  school  bring  in  their 
contributions  to  assist  in  the  work.  The  art  teacher 
helps  in  drawing  the  illustrations  which  later  may  be 
worked  out  in  a  zinc  etching  under  the  direction  of 
the  science  department,  or  ciit  out  in  wood  with  the 
aid  of  the  woodworking  teacher.  The  history,  the 
geography,  and  the  literature  furnish  suggestions  as 
to  content;  the  library  and  the  museum  offer  knowl- 
edge. The  result  is  a  product  of  the  school.  Its 
effect  is  to  bring  the  workers  sympathetically  together; 
not  to  make  prominent  the  work  of  any  individual  or 
department,  but  to  use  what  each  child  and  each 
department  can  bring  to  the  whole. 


SELECTIXG   EQUIPMENT  139 

B.  SELECTING  EQUIPMENT 
Since  the  school  printshop  differs  from  the  com- 
mercial printshop  in  its  aims  and  purposes,  it  should 
differ  in  its  plan  of  work  and  in  its  equipment.  The 
shop  equipment  should  accordingly  be  selected  with 
a  view  to  the  teaching  of  printing.  Too  often  is  the 
school  shop  fitted  out  as  a  commercial  shop;  too 
seldom  is  it  recognized  that  printing  has  become  an 
educational  factor  in  the  school.  Even  in  vocational 
or  continuation  work,  which  must  conform  more  or 
less  to  commercial  conditions,  some  concessions  must 
be  made  to  the  teaching  aspects  of  the  subject.  Much 
more  essential  is  the  adaptation  of  equipment  and 
method  to  this  end  in  school  work  with  young  children. 
This,  however,  does  not  debar  the  selection  of  a 
practical  equipment. 

The  number  of  pupils  in  the  class,  the  number  of 
hours  a  week  which  each  pupil  works,  and  the  age, 
ability,  and  previous  training  of  the  pupils  are  all  to 
be  considered  when  one  is  deciding  upon  the  quantity 
and  the  size  of  type  and  the  variety  of  faces  to  be 
purchased.  More  type  will  be  needed  when  pupils 
work  in  groups  on  alternating  days  than  when  the 
same  number  of  pupils  work  in  one  group  on  con- 
secutive days,  since  in  the  latter  case  there  is  less 
necessity  for  standing  type.  A  child  should  use  only 
large  type  for  his  major  work  until  such  time  as  his 
smaller  muscles,  which  make  all  the  delicate  adjust- 
ments, shall  have  developed.  Steady  work  with  small 
type  tends  to  injure  the  eyes  and  to  be  harmful  to  the 
nervous  system.     The  custom  which  now  prevails  in 


140  APPENDIX 

many  schools  of  giving  10-point  as  body  type  is  to 
be  deprecated.  For  general  work  elementary-school 
pupils  will  find  14-point  more  satisfactory  in  the  first 
composition. 

There  is  much  to  be  said  in  favor  of  pupils  doing 
their  early  work  with  few  type  faces.  The  cases  are 
more  easily  kept  in  order,  which  is  an  important  con- 
sideration when  different  classes  use  the  same  cases. 
Also,  when  the  child  is  working  with  few  rather  than 
many  type  faces,  he  learns  the  possibilities  and  the 
limitations  of  printing  materials,  his  power  to  think 
develops  better,  and  his  taste  improves  more  rapidly. 
Certainly  more  artistic  results  are  secured  by  requiring 
the  pupil  to  choose  his  type  within  narrow  limits. 
Good  work  does  not  require  a  variety  of  type  faces, 
popular  opinion  to  the  contrary.  Some  of  the  most 
pleasing  designs  in  the  shops  of  today  are  worked  out 
with  but  one  series  of  type.  William  Morris  himself 
used  but  three.  Of  course,  as  the  pupil  advances  in 
knowledge  and  skill,  and  as  his  work  becomes  more 
refined,  other  type  faces  may  be  added  to  the  original 
equipment,  but  any  type  selected  should  be  free  from 
hair  lines.  Text  letters  are  not  recommended  for 
general  use,  as  they  are  confusing  even  to  experienced 
printers. 

The  character  of  the  work  which  should  be  done 
by  printing  classes  should  be  determined  by  the  grade 
of  pupils,  by  their  ages,  and  by  their  previous  training. 
The  selection  should  not  be  influenced  by  the  kind  of 
work  done  in  the  commercial  printshops,  nor  by  the 
financial  needs  of  the  school.     For  pupils  to  solicit 


SELECTING   EQUIPMENT  141 

work  which  properly  belongs  to  the  neighborhood 
printer  in  order  to  earn  money  for  the  school  is,  to 
say  the  least,  unwise.  The  reduction  in  prices,  possible 
because  no  account  is  taken  of  overhead  expenses,  and 
because  the  value  of  the  pupils'  time  is  not  ordinarily 
reckoned  in  dollars  and  cents,  works  a  hardship  to 
the  printing  trade  and  also  brings  about  opposition 
to  the  school  printshop  from  that  very  source  which 
should  bring  to  this  work  efficient  aid  and  cooperation. 
The  work  chosen  should  be  adapted  to  the  worker. 
It  should  be  a  job  that  interests  him,  that  presents 
itself  to  him  as  a  problem,  but  it  should  not  be  of  such 
difficulty  that  it  demands  the  teacher's  attention  at 
every  step  of  the  process.  The  point  cannot  be  over- 
emphasized that  in  public  schools  the  work  must  be 
chosen  and  the  equipment  selected  with  a  view  to 
the  fact  that  printing  is  a  class  exercise  and  classes 
are  likely  to  be  large.  These  considerations  naturally 
bar  out  some  types  of  printing  needed  in  the  school; 
but  no  one  expects  the  manual-training  classes  to  do 
all  the  carpentry  of  a  school,  and  there  should  be 
the  same  frank  recognition  of  the  limitations  of  the 
printshop.  The  equipment  should  be  selected  with  a 
view  to  such  work  as  the  pupils  can  do  with  profit  to 
themselves.  Furthermore,  all  work  should  be  barred 
which  does  not  have  a  distinct  social  value  recog- 
nizable by  the  pupil  who  does  the  work. 

It  is  almost  a  truism  to  say  that  the  equipment 
must  accord  with  the  amount  of  money  available. 
Yet  with  a  small  amount  of  money  there  is  still  a 
choice  to  be  exercised.     If  a  full  initial  equipment  is 


142  APPENDIX 

not  possible,  it  is  advisable  to  start  with  properly 
selected  essentials,  which  can  be  added  to  later  as  the 
use  of  the  shop  increases  and  as  the  teacher  sees  the 
need.  Aside  from  the  question  of  money,  it  is  a  good 
rule  to  buy  what  is  needed  only  when  it  is  needed. 
This  habit  acts  as  a  check  to  the  tendency  to  fill  up 
the  shop  with  non-usable  material. 

The  following  list  is  suggested  as  a  workable  equip- 
ment for  an  ordinary  school  printshop: 

An  8X12  New  Series  Chandler  &  Price  Job  Press  com- 
plete with  throw-off  treadle,  3  chases,  a  set  of  cast 
rollers,  a  set  of  extra  stocks,  and  a  wrench 

Roman  type,  either  12-point  or  14-point  (according  to 
the  grade  of  pupils),  in  20-pound  fonts,  one  font  for 
every  two  pupils  in  the  group 

5  pounds  quads  and  spaces  for  each  20-pound  font  of  type 

One  font  each,  roman  and  italic,  of  the  series  selected, 
in  the  following  sizes:  6-point,  8-point,  10-point, 
12-point,  14-point,  18-point,  24-point 

Quads  and  spaces  for  each  of  the  above  sizes 

A  5-pound  font  of  2-point  rule  (light  face),  2-point  rule 
(full  face),  and  6-point  rule  (1-point  face,  beveled 
on  side).     These  may  be  used  to  form  plain  borders 

Buckeye  composing  sticks  (one  for  each  pupil  in  the 
the  group) 

One  galley  for  each  pupil,  6^-^X24 

One  galley  rack 

One  brayer 

One  hickory  mallet,  2>^X4^ 

One  proof -planer 

One  imposing  stone 

Case  stands 

California  job  cases,  two  for  each  20-pound  font  of  type 


SELECTING    EQUIPMENT  143 

Three  one-quarter  size  rule  cases 

A  paper  cutter 

One  Eureka  lead  and  slug  case 

100  pounds  2-point  leads  cut  labor-saving  from  4  to  25  ems 

50  pounds  6-point  slugs  cut  same 

20  pounds  labor-saving  metal  furniture 

One  case  wooden  furniture 

10  yards  assorted  reglet 

A  planer 

An  oil  can 

One  dozen  challenge  Hempel  quoins,  No.  1 

A  quoin  key,  No.  1 

One  safety  benzine  can 

1  pound  black  ink 

Three  cans  concentrated  lye 

A  lye  brush  with  handle 

A  benzine  brush 

10  pounds  waste 

One  dozen  pica  rulers 

A  metal  safety  waste  box 

Paper  for  press,  cut  to  size  of  press: 

1.  Manila  paper 

2.  Cardboard 

3.  Print  paper 

The  first  and  greatest  expenditure  will  be  for  the 
press.  The  one  suggested  is  durable  and  does  not  easily 
get  out  of  order.  It  can  be  bought  in  various  sizes,  but 
an  8x12  chase  can  be  handled  by  elementary-school 
pupils  and  is  at  the  same  time  large  enough  for  most 
high-school  jobs.  A  small  hand  press,  which  will  do 
good  work,  costs  much  less,  but  there  are  limitations 
to  the  work  that  can  be  done  on  it.  A  rebuilt  press 
can  be  bought  at  a  reduction,  but  is  not  advised  unless 


144  APPENDIX 

that  is  the  only  condition  under  which  printing  can 
be  estabhshed  in  the  schooh  Such  a  press  rarely 
gives  satisfaction.  It  is  usually  a  press  out  of  date; 
accordingly  parts  that  may  be  broken  cannot  be 
replaced.  Since  a  press  is  part  of  the  permanent 
equipment  of  the  school,  it  should  be  purchased  with 
the  idea  of  permanency.  If,  later,  additional  presses 
are  needed,  the  job  press,  of  the  size  and  kind  sug- 
gested, will  still  be  useful,  hence  will  not  be  discarded 
(see  page  58). 

The  kind,  size,  and  quantity  of  type  form  the  next 
important  item.  Type  is  not  permanent;  it  wears 
down  with  use  and  must  be  frequently  replaced.  The 
best  printer  cannot  turn  out  good  work  with  poor  type. 
It  is  therefore  mistaken  economy  to  buy  used  type. 
Whatever  else  must  be  bought  second-hand,  let  it  not 
be  type.  A  good  roman  face  should  be  selected,  a 
face  that  is  not  too  extended  or  "fat" — such  type  as 
will  space  easily.  Enough  should  be  bought  for  the 
entire  class.  The  different  sizes  of  the  series  chosen 
will  enable  the  pupils  to  secure  variety  without  resort- 
ing to  the  use  of  different  and  frequently  inharmonious 
faces  in  the  same  piece  of  work.  It  is  essential  that 
each  pupil  in  the  class  shall  have  enough  type  to  work 
with.  Idleness  breeds  disorder,  and  disorder  means 
slack  work.  There  is  a  widespread  fallacy  among 
school  children  (perhaps  not  confined  to  them)  that 
work  with  the  hands  is  dissociated  from  work  with 
the  head.  Insufficient  material  fosters  this  idea. 
Proper  equipment  tends  to  keep  each  pupil  at  work 
in  an  orderly  manner. 


SELECTING   EQUIPMENT  145 

Various  forms  of  sticks  are  on  the  market.  The 
simplest  form  is  the  best  to  use  in  school,  the  size  of 
the  stick  depending  upon  the  size  of  the  hand  that 
holds  it.  The  two-inch  stick  is  not  too  large  for  the 
smallest  child.  As  many  sticks  should  be  provided 
as  there  are  pupils  in  the  group.  Every  stick  may  not 
be  in  use  all  the  time,  but  each  pupil  should  be  able 
to  secure  a  stick  whenever  he  requires  one.  Patent 
sticks,  that  is,  those  which  automatically  clamp  at 
em  and  en  measurements,  are  not  recommended,  as 
they  tend  to  make  the  pupil  inaccurate. 

An  imposing  stone  (Fig.  53)  can  be  purchased, 
mounted  upon  a  cabinet  containing  sort  drawers,  letter 
boards,  chase  racks,  furniture,  reglet,  and  tool  drawers. 
It  is  very  convenient,  providing  places  for  the  many 
things  needed  by  the  stoneman.  These  cabinets  vary 
in  price.  They  do  away  with  the  necessity  for  buying 
other  pressroom  belongings  and  they  prolong  the 
usefulness  of  many  articles  by  making  it  possible  for 
them  to  be  taken  care  of  properly.  If,  however,  not 
miuch  money  can  be  spent  for  a  stone,  one  mounted 
on  a  frame  containing  one  drawer  can  be  bought  at 
a  low  price;  or,  if  this  is  too  expensive,  an  unmounted 
stone,  which  can  be  placed  on  a  common  deal  table, 
costs  even  less. 

Cabinets  or  stands  to  contain  cases  of  type  are  now 
made  in  various  styles  and  at  varying  prices.  One 
of  the  best  arrangements  for  a  school  is  found  in  the 
American  School  Printshop  compositor's  stand  and 
desk  (Fig.  54).  This  is  an  individual  case  stand,  lower 
than  the  stands  made  for  men,  with  the  top  an^anged 


146 


APPENDIX 


Courtesy  of  the  American  Type  Founders  Companu 


Fig.  53.     Imposing  stone 


a.  Stnrafje  side 

b.  Materials  side 


SELECTING   EQUIPMENT 


147 


to  hold  a  California  job  case,  a  galley,  a  small  rule 
or  border  case,  and  a  lead  and  slug  case.  This  places 
all  material  at  hand  for  the  compositor.  The  rack 
below  holds  ten  full-size  cases.  The  stand  is  also  pro- 
vided with  a  drawer  to  contain  books,  notebooks,  or 
other  such  material.  A  galley  for  unfinished  work 
also  finds  place  in  it.  A  writing  board  can  be  put  in 
one  of  the  racks,  and  thus  the  pupil  can  write  or  draw 
without  leaving  his  position  at  the  case. 


Courtesy  of  the  American  'lypt  t  ouna<  r    i  <  tupan^ 

Fig.  54.     American  School  Print  shop 
compositor's  stand 


II 


148 


APPENDIX 


If  the  appropriation  will  not  cover  such  expenditures, 
cheaper  case  stands  can  be  purchased.  Closed  cabi- 
nets, containing 
cases  only,  can  be 
bought  at  a  reason- 
able price.  They 
are  neat  in  appear- 
ance and  keep  the 
type  free  from  dust. 
If  these  are  used, 
tables  or  open-case 
stands  must  also  be 
])rovided  to  hold 
the  cases  when 
pupils  are  at  work. 
Double  open-case 
stands  are  much 
cheaper  than  closed 
cabinets.  When 
they  are  not  in  use, 
the  dust  can  be 
kept  out  by  cover- 
ing the  type  with 
cardboard  covers 
which  may  also 
serve  as  drying 
boards.  The  ordi- 
nary case  stands  are 
too  high  for  the 
average  pupil. 
They  may  be  lowered  by  cutting  the  legs,  or,  better 
still,  a  number  of  platforms  of  different  heights,  on 


Courtesy  of  the  American  Type  Fiiiinilers  Company 

Fig.  55.     Boston  staple  binder 


SELECTING  EQUIPMENT 


149 


which  pupils  may  stand,  can  be  made  in  the  manual 
training  room.  The  t^-pe  may  be  laid  in  a  .combina- 
tion job  case  with  blank  cases  for  the  small  caps. 
Each  case  should  contain  10  pounds  of  type  and  2^ 
pounds  of  quads  and  spaces. 


Courtesy  of  the  Challenge  Machinery  Company 

Fig.  56.     Advance  paper  cutter 
A  paper  cutter,  like  the  press,  is  a  permanent  invest- 
ment, and  none  should  be  purchased  that  is  not  ade- 
quate for  all  purposes  (Fig.  56) .     A  23-inch  cutter  will 


150  APPENDIX 

answer  the  purpose  of  the  majority  of  schools.  Until 
a  large-size  cutter  can  be  bought,  it  is  better  to  buy 
stock  cut  to  the  desired  size.  The  cost  of  cutting  is 
but  a  trifle.  A  paper  and  card  cutter  can  be  used  to 
trim  cards  and  paper. 


Courtesy  of  Horace  Hacker  Company 

Fig.  57.    A  proof-press 

The  cost  of  the  ecjuipmcnt  will  vary  according  to 
the  place  and  time  at  which  it  is  bought  and  in  pro- 
portion to  the  quantity  purchased  at  one  time.  It 
is  better,  on  the  wliole,  to  select  the  most  reliable 
house  and  to  make  all  purchases  from  one  firm.  The 
expense  can  be  materially  reduced  if  the  cases,  case 
stands,  frames,  tables,  cabinets,  and  other  wood  fur- 
nishings can  be  made  in  the  school  manual-training 
shops. 


SELECTING   EQUIPMENT  151 

If  the  expenditure  is  not  limited,  the  following 
articles,  which  will  be  found  very  desirable,  should  also 
be  purchased: 

Motor 

Steel  chases 

Boston  staple  binder  on  pedestal  (see  Fig.  55,  page  14S) 

Proof-press  (Fig.  57) 

2-point  labor-saving  rules 

12x23^  composing  sticks 

Composing  rules  in  case 

Copper  and  brass  thin  spaces  (all  sizes) 

Brass  galleys 

Cabinet  (for  pressroom) 

Cabinet  for  cuts 

Stock  cabinets  (paper  and  cardboard) 

Sample  cabinets  (paper  samples) 

Bookcases  for  printshop  literature 

Hooks  to  contain  copy  (for  each  group) 

Exhibit  case  (to  show  class  work  mounted  on  cards) 

Screen  (on  which  to  pin  samples  of  work) 

Scrapbook  (to  hold  samples) 

Stereopticon,  with  slides 

In  some  schools  each  child  who  takes  printing  is 
required  to  present  a  written  statement  signed  by  the 
parent  absolving  the  school  from  responsibility  for 
any  accident  that  may  occur.  This  protects  the 
school,  but  not  the  child.  A  better  and  wiser  way  for 
the  school — and  this  cannot  be  too  strongly  empha- 
sized— is  to  provide  the  pupil  with  equipment  so  safe 
that  he  cannot  possibly  hurt  hiinself.  In  addition  to 
the  constant  watchfulness  of  the  teacher,  the  following 


152  APPENDIX 

devices  should  be  included  in  all  school  printing  outfits: 
Platen  guard  for  all  Chandler  &  Price  presses 
Fly-wheel  guard 

Gear  and  pinion  guard  combined 
Motor  bracket  with  driving  pulley- 
American  job-press  brake,  cast  iron,  for  all  sizes,  new  or 
old  series 

SUGGESTIONS    FOR   THE    PRINTSHOP    LIBRARY 

Aldis,  Harry  G.     The  Printed  Book. 
American  Type  Founders^  Catalogue. 
Bouchot,  Henri.     The  Printed  Book. 
Davenport,  Cyril.     The  Book:  Its  Development. 
DeVinne,  Theodore.     The  Invention  of  Printing  (1878). 

.     Correct  Composition. 

.     Modern  Book  Composition. 

.     Plain  Printing  Types. 

,     Title  Pages. 

Dictionary,  Unabridged. 

Duff,  E.  Gordon.     Early  Printed  Books. 

Graphic  Arts. 

Gress,  Edmund  G.     The  Art  and  Practice  of  Typography. 

Henry,  Frank  S.     Printing  for  School  a)id  Shop. 

Hitchcock,  Frederick  H.     Building  the  Book. 

Inland  Printer. 

Johnston,  Edward.   ]]'riting  and  Illuminating  and  Lettering. 

Manual  of  Style  of  the  University  of  Chicago  Press. 

Printing  Art. 

Roberts,  W.     Printers'  Marks. 

Smith,  Adele  Millicent.     Printing  and  Writing  Materials. 

Stewart,  A.  A.     The  Features  of  a  Printed  Book. 

.     School  of  Printing  Leaflets. 

Books  of  the  Typographic  Technical  Series  for  Appren- 
tices. 
Woolley,  Edward.     Ha>ulhook  of  Composition. 


ARRANGEMEN'T    OF    PRINTING    ROOMS        153 

C.    THE  ARRANGEMExNT  OF  PRINTING  ROOMS 

Every  teacher  must  decide  the  arrangement  of  his 
shop  according  to  the  space  allotted  for  the  work,  the 
size  of  the  equipment,  and  the  number  in  his  class. 
But  the  ordinary  printshop  arrangement  of  alleys  is 
not  ideal  for  a  schoolroom.  The  instruction  naturally 
divides  itself  into  three  parts:  classroom  instruction, 
work  in  composition,  and  presswork.  It  is  most 
economical  to  arrange  the  shop  with  these  in  view. 

General  classroom  work  consists  of  drawing  (making 
designs,  planning  a  layovit,  and  similar  work),  painting 
(combinations  of  colors),  reading  lessons  on  printshop 
work,  and  mathematical  computations.  These  require 
the  use  of  a  blackboard  and  desks  at  which  the  children 
can  draw,  write,  or  read. 

The  composing  room  requires  space  for  case  stands, 
galley  racks,  table  for  tying  up  type,  copy-hooks  on 
which  the  class  may  leave  the  copy  when  it  is  not  in 
use,  and  wall  space  in  which  hooks  or  brads  can  be 
driven  for  holding  the  sticks.  This  room  should  be 
well  lighted  with  both  natural  and  artificial  light. 

In  either  the  classroom  or  the  composing  room  there 
should  be  a  bookcase  containing  a  dictionary,  a  manual 
of  style,  Woolley's  Handbook  of  Composition,  and 
other  reference  books.  There  should  be  a  collection  of 
lantern  slides  with  stereopticon  or  projection  machine 
and  pictures  illustrating  both  the  present  and  the 
past  history  of  printing  and  its  allied  occupations. 
Space  should  be  provided  for  a  cork  wall  or  a  cloth 
screen  on  which  samples  of  good  work  may  be  placed. 
A  scrapbook  to  contain  specimens  of  good  commercial 


154  APPENDIX 

printing  is  extremely  useful.  A  cabinet,  in  which 
mounted  cards  of  work  can  be  kept  free  from  dust, 
and  yet  which  can  always  be  opened  to  show  the 
cards,  should  be  in  every  printshop.  Complete  files 
of  work  should  always  be  kept,  with  extra  copies  for 
mounting  or  to  be  used  as  printshop  samples. 

The  pressroom  should  have  abundance  of  light. 
It  contains  the  press,  the  imposing  stone,  ink  cabinets, 
stock  cabinets,  paper  cutters,  and  all  the  things  needed 
for  the  stone-  and  pressmen.  A  large  cutter  should 
not  be  operated  by  elementary-school  pupils. 


OUTLINE   OF    COURSE    IN    PRINTING  155 

D.  OUTLINE  OF  COURSE  IN  PRINTING  IN  THE 
ELEMENTARY  AND  HIGH  SCHOOLS  OF  THE 
SCHOOL  OF  EDUCATION  OF  THE  UNIVERSITY 
OF  CHICAGO  IN  1916-1917 

Elementary  instruction  begins  the  last  semester  of 
the  fifth  grade.  The  pupils  are  young  to  take  up 
printing,  but  their  great  interest  in  it  and  the  results 
attained  in  the  past  make  the  plan  worth  continuing. 
The  classes  meet  two  hours  per  week.  The  work  is 
continued  for  the  same  period  of  time  through  the 
sixth  and  seventh  grades  and  is  required  of  both  boys 
and  girls. 

Printing  is  not  a  required  study  in  the  high  school, 
but  it  may  be  elected  under  the  same  conditions  as 
hold  in  other  shop  courses.  Pupils  choosing  this 
subject  work  five  hours  per  week. 

The  shop  is  adequately  equipped  with  an  8x12 
Chandler  &  Price  Gordon  job  press,  a  16-inch  paper 
cutter,  sixteen  case  stands,  sufficient  Caslon  type  of  all 
sizes  for  the  regular  work  of  the  classes,  with  enough 
type  of  other  styles  to  enable  the  pupils  to  do  any 
extra  work  desired.  There  are  also  imposing  stones, 
cabinets,  and  all  the  smaller  objects  usually  to  be 
found  in  printshops.     (See  Appendix  B.) 

In  all  classes  excursions  and  projected  pictures  are 
used  as  sources  of  information.  The  excursions  may 
be  visits  to  modern  printshops,  engraving  establish- 
ments, paper  mills,  type  foundries,  libraries,  museums, 
or  any  other  source  of  first-hand  information  upon 
printing  or  its  allied  industries.  The  slides  and  pic- 
tures convey  information  which  cannot  otherwise  be 


156  APPENDIX 

secured.  The  pupils  are  encouraged  to  add  to  the 
collections  already  started  of  materials  used  in  paper 
making,  type  casting,  and  other  industries  connected 
with  printing. 

Any  pupil  who  has  followed  the  work  outlined  for 
the  fifth,  sixth,  and  seventh  grades  should,  at  the  close 
of  the  seventh  year,  be  familiar  with  the  history  of 
printing  and  know  what  can  be  done  with  printing 
materials.  He  should  know  what  constitutes  good 
printing.  He  should  be  able  to  design  and  present 
in  graphic  form  a  plan  for  printing  such  simple  work 
as  appears  in  the  course  and  should  have  sufficient 
skill  to  carry  out  that  plan. 

Elementary  School 
fifth  grade 

The  first  step  is  to  learn  the  case,  which  may  occupy 
the  time  of  three  or  even  four  lessons,  depending  upon 
the  individual  pupil.  He  could  commit  to  memory 
the  lay  of  the  case  in  less  time,  but  it  is  better  for  him 
to  acquire  some  skill  in  handling  the  type  and  in  reading 
it  upside  down  while  he  is  at  the  same  time  memorizing 
the  case.  He  should  be  occupied  with  the  type  from 
the  very  first  lesson  and  will  not  find  learning  the  case 
an  irksome  task.  The  result  of  this  method  shows  in 
the  efficiency  of  his  first  composition. 

Poetry  is  best  for  the  first  work,  because  poetry 
presents  fewer  problems  of  justification  than  prose 
does  and  is  simpler  for  the  child.  The  order  of  all 
the  technical  work  should  be  determined,  first,  by  the 
difficulty  it  presents  to  the  child,  and,  second,  by  its 


OUTLINE    OF   COURSE    IN    PRINTING  157 

dependence  upon  some  other  topic.  The  fifth-grade 
pupil  cannot  work  rapidly,  and,  if  given  a  whole  poem 
to  set  up,  would  fail  to  get  it  done  in  time  for  use. 
But  the  attitude  of  children  of  this  age  toward  their 
work  makes  it  possible  for  a  group  to  combine  on  one 
poem.  This  plan  is  repeated  until  a  child  becomes 
skillful  enough  to  work  alone,  when  he  may  set  up  an 
entire  poem. 

Work  on  poems  fills  the  greater  part  of  the  com- 
position time.  Late  in  the  course  a  little  prose  is 
introduced,  consisting  of  first-grade  reading  lessons, 
which  are  written  in  one-sentence  paragraphs,  or 
responsive  readings  of  the  Psalms,  or  other  work 
similar  in  form. 

When  the  work  in  composition  is  well  under  way. 
about  the  middle  of  the  course,  presswork  begins. 
This  is  very  closely  supervised.  No  fifth-grade  pupil 
is  ever  permitted  to  run  the  press  unless  the  teacher 
is  giving  him  full  attention.  This  means,  then,  that 
the  instruction  is  given  to  the  class,  one  child  after 
another  working  the  press  while  the  rest  of  the  class 
observe. 

In  the  topics  assigned  for  fifth-grade  reading  the 
printing  teacher  has  the  assistance  of  the  grade  teacher, 
who  cooperates  in  every  way  possible.  The  work  is 
correlated  with  the  study  of  medieval  history. 

The  work  in  art  in  the  fifth,  as  in  the  other  grades, 
is  done  partly  by  the  art  teacher  and  partly  by  the 
printing  teacher.  The  art  problems  suggested  grow 
directly  out  of  the  printing  work.  They  are  met,  in 
a  general  way,   as  follows:     If  the  problem  belongs 


158  APPENDIX 

to  the  entire  class  at  the  same  tmie,  it  is  discussed 
by  the  art  teacher  in  the  art  period.  If  it  is  an  indi- 
vidual problem,  it  is  taken  up  by  the  printing  teacher. 

Outline 
I.  Learning  the  case: 

a.  Exercise  in  paper  folding  preparatory  to  drawing  and 
learning  the  case 

b.  Drawing  type  case  to  scale 

c.  Setting  up  the  letters  in  each  box 

From  this  exercise  should  result: 

1.  Proper  standing  position 

2.  Correct  holding  of  the  stick 

3.  Knowledge  of  the  lay  of  the  case 

4.  Knowing  the  type — its  parts 

5.  Ability  to  read  the  type  upside  down 

6.  Recognition  of  spaces  by  sight  and  by  touch 

7.  Some  skill  in  handling  type 

II.  Setting  type: 

The  drill  secured  while  learning  the  case  enables  the 
pupil  to  work  with  intelligence  and  with  a  degree  of 
skill  in  even  his  first  attempts  at  composition.  The  first 
work  is  done  with  18-point  and  14-point  type;  later 
12-point  may  be  used.     The  work  consists  of  setting  up: 

a.  Poems  of  short  lines 

b.  Prose  consisting  of  reading  lessons  for  the  first  grade 
which  occur  in  one-sentence  paragraphs 

c.  Verse — arranged  on  a  card 

(/.  Spelling  list — consisting  of  words  used  in  tlie  fifth- 
grade  work 

Through  these  exercises  the  pupil  learns : 
1.  Even  spacing  between  words 


OUTLINE    OF   COURSE    IN    PRINTING  159 

2.  The    filling    out    of    an    uncompleted    line    with 
quads  and  spaces 

3.  Indention — the  alignment  of  riming  lines 

4.  The  use  of  leads 

5.  The  pica  as  a  unit  of  measurement 

6.  The  point  system 

7.  Method  of  tying  up  type  and  handling  type  masses 

8.  Proofreaders'  marks;  how  to   mark   a  proof  and 
correct  mistakes  in  the  type 

in.  Feeding  the  press: 

The  pupils  in  this  grade  handle  sheets  of  paper  not 
larger  than  63<4X93  2  inches.  They  also  feed  cards, 
using  a  thimble  made  of  sandpaper.  The  pupils  may 
observe  the  processes  of  locking  up  and  making  ready. 
The  pupils  themselves  execute  only  the  following  steps: 

a.  Putting  the  chase  into  the  press 

b.  Feeding  the  single  sheets — a  steady,   direct   move- 
ment is  required 

c.  Taking  out  the  chase,  washing  the  type,  and  putting 
away  the  furniture  and  chase 

IV.  Special  work  on  the  school  magazine: 

a.  Setting  up  centered  titles  and  running  heads 

b.  Folding  and  assembling  the  printed  sheets  and  sewing 
the  magazines 

V.  Reading: 

Articles  on   the  following  topics  have  been  prepared 
by  the  printing  teacher: 

a.  Early  Methods  of  Keeping  Records 

b.  The  Work  of  the  Scribes  and  Monks 

c.  Block  Books 

d.  The  Story  of  Gutenberg 


160  APPENDIX 

e.  Laurence  Coster 

/.  Benjamin  Franklin  as  a  Printer 

VI.  Art: 

Emphasis  laid  on  the  following  points : 

a.  Harmony  of  shape  between  the  type  mass  and  the 
paper 

b.  Placement  of  the  type  mass  on  the  page;  the  width 
of  margins 

c.  Arrangement  of  cards,  Christmas,  Easter,  valentine, 
or  birthday 

d.  Drawings  for  the  school  magazine 

SIXTH    GRADE 

The  instruction  given  in  this  grade  is  partly  oral 
and  parti 3^  from  printed  directions.^  As  new  points 
come  up  they  are  explained  by  the  teacher  to  the 
class.  Later,  if  any  child  meets  a  difficulty,  he  is 
given  individual  help.  If,  however,  the  difficulty 
seems  general,  the  assistance  is  given  to  all  the  class 
together.  As  the  work  improves,  printed  directions 
are  used.  The  printed  work  follows  the  oral  expla- 
nation. For  instance,  in  locking  up,  the  teacher 
first  gives  a  demonstration  accompanied  by  an  oral 
explanation  of  the  process.  After  that  the  pupils  are 
expected  to  lock  up  their  work,  following  the  printed 
directions. 

The  time  devoted  to  composition  in  this  grade  is 
about  equally  divided  between  setting  up  prose  and 
poetry. 

1  Pending  the  completion  of  this  book,  printed  directions 
were  prepared  for  the  class. 


OUTLINE   OF   COURSE   IN    PRINTING  161 

The  pupils  work  enough  on  the  press  to  acquire 
skill,  printing  all  their  own  compositions  and  doing  a 
part  of  the  presswork  for  the  fifth  grade. 

As  the  reading  in  this  grade  correlates  more  directly 
with  science  than  with  histor}^  it  is  done  in  cooperation 
with  the  science  teacher. 

The  work  begun  in  the  fifth  grade  continues  through- 
out the  sixth  grade,  with  the  emphasis  placed  upon 
the  added  topics  indicated  in  the  following: 

Outline 
I.  Composition: 

The  work  is  done  with  12-point  type,  but  there  may 
be  occasional  use  of  other  sizes  if  the  work  demands  it. 

a.  Practice  is  given  in  setting: 

1.  Poetry — such  poems  as  are  needed  in  any  depart- 
ment of  the  school  or  any  a  pupil  desires  to  print 

2.  Prose — one  or  more  paragraphs  of  any  required 
matter  may  be  set  up;  this  grade  composes  many 
simple  announcements,  such  as  notices  for  parents' 
meetings,  invitations,  office  hours  for  the  admin- 
istrative officers,   and  work  of  similar  character 

h.  Practice  is  given  in  taking  proofs: 

The  pupils  take  proofs  of  their  work  after  they 
have  corrected  all  the  mistakes  they  can  see  in  the 
type.  They  mark  the  proof  according  to  accepted 
proofreaders'  marks  and  make  the  necessary  changes 
in  the  type. 

II.  Presswork: 

o.  Locking  up  —  of  single  pages,  locked  under  direction 

b.  Feeding  the  press — sheets  the  full  size  of  the  press 
(8X12) 


162  APPENDIX 

c.  Removing  the  chase  and  cleaning  the  type  prepara- 
tory to  distributing 

d.  Cleaning  and  oiling  the  press — done  only  under  the 
teacher's  direction 

III.  Distribution  of  type: 

The  distribution  begins  in  this  grade,  taking  up  one 
line  at  a  time.  When  the  pupil  has  become  skillful  he 
handles  more  than  one  line. 

IV.  Special  work  on  the  school  magazine: 
a.  Setting  table  of  contents 

h.  Assisting  with  the  presswork 
(".  Folding  and  sewing 

V.  Reading: 

Articles  prepared  by  the  teacher  for  reading  in  this 
grade  consist  of: 
a.  A  Medieval  Library 
h.  Foundry-cast  Type 

c.  How  Magazine  Illustrations  Are  Made.  Photo- 
Engraving  and  Wood  Engraving 

d.  Paper  Making,  Ancient  and  Modern 

VI.  Art: 

a.  Making  of  a  layout  for  work  to  be  done 

b.  Designs  of  simple  units  for  cards  or  for  the  school 
magazine;  how  the  line  of  the  drawing  affects  the 
tone  harmony  of  the  print 

c.  Freehand  lettering  and  spacing,  single  words  and 
notices 

d.  Visits  to  collections  of  medieval  manuscripts 

c.  Study  of  examples  of  fine  printing,  both  ancient  and 

modern 
/.  Collection  of  pictures  which  illustrate  early  methods 

of  making  books 


OUTLINE    OP    COURSE    IN    PRINTING  163 

SEVENTH    GRADE 

The  seventh  grade  uses  the  printed  directions. 
These  pupils  work  quite  independently,  requiring  very 
little  other  instruction. 

The  composition  time  is  mainly  devoted  to  prose, 
a  class  or  a  group  working  together  upon  some  work  to 
be  arranged  in  a  booklet.  This  may  be  a  club  consti- 
tution or  industrial,  geographical,  or  historical  reading 
prepared  for  the  use  of  some  grade. 

The  poetry  set  up  is  usually  a  collection  made  into 
a  booklet.  In  some  cases  the  composition  is  done  in 
the  lower  grades,  the  seventh  grade  making  up  the 
forms  and  printing  them. 

An  average  of  two  lessons  a  month  is  spent  in  reading 
on  the  topics  indicated  in  the  outlines.  Information 
on  similar  topics  is  secured  by  outside  work.  The 
English  teacher  assigns  for  theme  work  such  topics 
as: 

The  Beginnings  of  Writing 

Cursive  and  Book  Hand 

Early  Illuminations 

Cuneiform 

The  Book  of  Kells 

Cadmus 

Hittite  Writing 

The  Plantin  Museum 

William  Morris  as  a  Printer 

Block  Books,  etc. 

Each  pupil  prints  his  own  theme  and  distributes  it 
to  the  class,  thus  sharing  the  knowledge  he  has 
acquired. 

12 


164  APPENDIX 

Instruction  in  this  grade  centers  upon  prose  com- 
position and  presswork. 

Outline 
I.  Composition: 

The  regular  work  is  done  with  12-point  or  10-point 
type.     Other  sizes  are  used  as  it  becomes  necessary. 

a.  Poetry: 

Besides  printing  any  poems  needed  in  the  school, 
this  grade  prints  booklets  of  original  verse. 

b.  Prose: 

Refinement  of  spacing  begins  to  show  in  the 
seventh  grade.  The  prose  work  is  presented  through 
a  variety  of  problems,  among  them  reading  lessons 
for  other  grades,  programs,  letterheads,  cards  requir- 
ing the  use  of  horizontal  rules,  initial  letters,  original 
plays,  and  calendars. 

II.  Presswork: 

There  is  great  advance  in  the  presswork  in  this 
grade.  The  pupils  show  an  interest  in  the  press  as  a 
machine.  This  interest  is  utilized  by  the  science  teacher 
in  the  work  on  mechanics.  The  pupils  print  their  own 
compositions  and  part  of  the  fifth-grade  work,  carrying 
on  the  following  processes: 

a.  Locking  up 

b.  Making  ready 

c.  Feeding 

d.  Washing  type 

e.  Cleaning  the  press 

III.  Distribution: 

The  pupils  not  only  distribute  their  own  dead  type, 
but  help  in  the  work  of  the  younger  pupils.  Printed 
directions  are  given  them. 


OUTLINE   OF   COURSE    IN    PRINTING  165 

IV.  Work  on  the  school  magazine: 

This  grade  has  charge  of  the  editorial  and  business 
management  of  the  School  Reporter,  as  well  as  the  work 
in  composition.  Pupils  from  other  grades  assist  in  the 
composition,  but  this  class  then  concludes  the  work, 
which  consists  of : 

a.  Setting  the  editorial  page 

b.  Making  vip  pages 

c.  Taking  page  proofs  and  making  a  "dummy" 

d.  Presswork 

V.  Reading: 

The  reading  for  this  grade  is  prepared  as  for  the 
previous  grades.     The  special  topics  are: 
a.  The  Press — Platen  and  Cylinder 
h.  Composition  of  Ink 

c.  How  Rollers  Are  Made 

d.  Machine  Composition — Linotype  and  Monotype 

e.  The  Printing  of  a  Modern  Newspaper 

VI.  Art: 

a.  Making  a  layout  for  any  job  attempted 

h.  Planning  a  booklet  of  original  verse  or  prose 

c.  Study  of  title  pages 

d.  Drawing  units  and  cutting  them  in  wood  for  use  oi. 
cards  or  booklets 

e.  Making  zinc  plates 

/.  Setting  an  initial  letter 

g.  Printing  in  colors 

h.  Freehand  lettering;  spacing  and  lettering  short  quo- 
tation, using  a  large  initial 

i.  Arranging  a  cover  design  involving  the  use  of  a  deco- 
rative unit 

j.  Studying  harmony  of  tone;  upon  what  it  depends 


166  APPENDIX 

High  School 

The  high-school  pupils  electing  this  subject  have 
heretofore  fallen  into  two  classes:  those  who  have 
previously  studied  printing  in  the  elementary  school 
and  those  who  are  just  beginning  the  work. 

The  outline  which  follows  is  designed  for  the  latter 
class.  The  pupils  who  know  something  of  the  subject 
continue  the  work  done  in  the  grades,  but  wnth  more 
independence  of  thought  and  action  and  more  refine- 
ment of  method. 

Correct  spacing  (apparently  even)  is  demanded.  The 
pupils  plan  work  of  increasing  difficulty.  Imposition 
of  more  than  two  pages  and  some  tabular  composition 
have  been  done.  Border  work  and  the  use  of  color 
in  printing  are  steps  in  advance. 

Much  more  leeway  in  the  selection  of  his  work  is 
permitted  the  high-school  student  than  is  granted  to 
the  pupil  in  the  grades.  This  is  possible  because  the 
high-school  student  himself  feels  a  definite  need  for 
printing  certain  things.  His  work  is  largely  personal. 
He  wants  a  copy  of  his  club  constitution,  he  requires 
tickets  and  programs  for  his  class  entertainments,  he 
wishes  cards  or  notices  to  advertise  some  private  inter- 
est, or  he  collects  his  own  writings  and  puts  them  forth 
in  artistic  fonn.  He  chooses,  within  limits,  the  thing 
he  wishes  to  print,  plans  his  layout,  makes  his  own 
decorations,  selects  the  type,  the  color  of  ink,  and 
paper  of  such  color  and  quality  as  he  considers  suitable. 
He  confers  with  the  various  teachers  concerned, 
getting  whatever  assistance  he  requires  to  do  the  work 
he  has  planned.     His  standard  of  result  is  high  because 


OUTLINE    OF   COURSE    IN    PRINTING  167 

the  work  is  for  himself  or  his  fellows  and  will  come 
under  their  judgment. 

It  is  the  office  of  the  teacher  to  pass  upon  the  suita- 
bility of  the  work  chosen,  its  degree  of  difficulty,  its 
value  as  a  means  of  increasing  the  pupil's  knowledge 
and  skill  in  printing.  It  is  the  teacher's  work  to 
criticize,  to  suggest  improvements,  and  through  the 
pupil's  need  and  desire  to  know  a  particular  detail 
to  bring  to  his  knowledge  the  general  principles  under- 
lying the  work. 

Outline 

1.  The  case 

a.  Lay  of  type 

b.  Correct  posture  of  body 

2.  The  point  system 

3.  Type  families 

4.  Straight-matter  composition: 

a.  Spaces,  quads,  leads,  and  slugs 

b.  Indention,  rules  for  English  as  applied  in  the  shop 

c.  Correction  of  errors 

5.  Proofreaders'  marks 

6.  Margins 

7.  Paging 

8.  Elementary  imposition 

9.  Tabular  composition 

10.  Borders;  ornaments 

11.  Principles  of  design  as  applied  to  printing 

12.  Press  work 

13.  Study  of  paper 

14.  Illustrations 

15.  Use  of  color  in  printing 


168  APPENDIX 

E.     WHAT  TO  PRINT  IN  THE  SCHOOL 
PRINTSHOP 

Two  considerations  must  enter  into  the  choice  of 
what  to  select  for  printing:  first,  the  use  to  be  made 
of  the  matter  printed;  next,  the  difficulty  of  the  process 
relative  to  both  the  skill  of  the  pupil  and  the  limita- 
tions of  the  shop  equipment.  The  printing  of  a 
poem  is  the  simplest  job  for  a  beginner.  Having 
learned  the  case,  he  has  in  his  first  poem  but  to  place 
the  three-to-em  spaces  between  the  words  and  fill  out 
the  line  with  quads  and  spaces.  The  indention  of  the 
riming  lines,  the  leading  between  the  stanzas,  and 
the  arrangement  of  the  title  are  all  more  or  less  simple 
steps  in  the  work. 

This  may  be  followed  by  the  setting-up  of  a  prose 
paragraph,  which  is  more  complicated  because  the 
process  of  justification  enters  into  it.  It  is  necessary 
to  spend  much  tim.e  upon  this  part  of  the  work,  as 
it  is  the  basis  of  all  good  printing.  When  one  can 
space  prose  well,  he  has  acquired  control  of  his  mate- 
rials and  can  readily  learn  all  the  possible  arrange- 
ments of  type. 

Before  attempting  to  print  a  card  such  as  an  Easter, 
Christmas,  or  birthday  card,  or  valentine,  the  pupil 
should  always  make  a  design  for  it.  He  should  work 
out  in  his  mind  a  clear  image  of  type  of  definite  size 
and  style,  arranged  in  a  mass  of  good  proportions 
and  placed  on  paper  with  correct  margins.  He  should 
then  project  this  image  in  a  plan  (a  layout),  either 
a  card  printed  by  hand  (Fig.  58),  or  a  simple  pencil 
sketch  on  the  card  (Fig.  59) ;  or  a  mass  of  colored  paper 


WHAT  TO   PRINT 


169 


may  be  cut  out  and  pasted  on  the  card  (Fig.  60).     With 
this  reahzed  thought  in  his  mind  he  can  set  up  his 


AUTUMN 
Oh'CjIoriou^  autumn! 

lou  are  best  o[  all  the  jear, 
E/en  intKe  sprino 

I  wish  tKat  you  were  here. 


Fig.  58 


Fig.  59 

verse  and  take  a  proof.  Comparing  his  proof  and  his 
plan,  he  is  able  to  revise  his  first  arrangement  (see 
Fig.  61,  page  170;    Figs.  62  and  63,  page  171). 

If  the  composition  is  to  be  inclosed  by  a  border, 
the  type  should  be  set  first,  and  so  set  that  in  both  its 


170 


APPENDIX 


vertical  and  its  horizontal  direction  it  measures  exactly 
an  integral  number  of  picas  or  nonpareils.  The  border 
will  then  fit  around  the  type  mass. 


Fig.  01.     Layout 

In  the  use  of  an  initial  letter  the  directions  given  in 
chapter  xii  (pages  102  f.)  should  be  followed.  If  the 
initial  is  to  be  printed  in  a  different  color  from  the  rest 


WHAT   TO   PRINT 


171 


of  the  card,  the  letter  should  be  removed  and  its  place 
filled  by  a  blank.     After  the  card  has  been  printed. 


Fig.  62.     Proof 


Fig.  03.     Revised  proof 

Type  used,  Cloister  Black.   18-point,  12-point,  and   10-point  sizes. 
12-point  border.     Printed  in  blue,  on  a  brown  card. 

the  blank  should  be  taken  out  and  the  initial  letter 
put  into  its  proper  place  in  the   composition.     The 


172  APPENDIX 

dead  type  should  then  be  taken  from  the  chase,  and 
furniture  put  into  the  place  it  occupied.  The  press 
should  be  carefully  washed  and  inked  with  the  color 
desired  and  the  cards  again  nui  through,  feeding  to 
the  original  guide  pins.  The  pupil  should  be  restricted 
in  the  use  of  colors.  An  initial  in  a  different  color 
is  not  satisfactory  unless  the  initial  is  ornamental. 
Several  colored  letters  at  intervals  on  a  field  of  black 
usually  result  in  a  spotty  appearance. 

If  it  is  necessary  to  print  a  job  containing  rules,  it 
is  better  to  set  all  the  vertical  lines  in  one  composition 
and  all  the  horizontal  lines  in  another  composition 
and  then  lock  both  so  that  they  will  register  when  the 
form  is  printed.  The  lines  then  do  not  appear  broken 
in  the  print  and  the  rollers  are  less  likely  to  be  cut. 

Booklets  of  original  verse  or  an  original  play  are 
interesting  copy,  and  the  possibility  that  one's  work 
may  be  put  into  print  is  always  an  incentive  to  attempt 
to  write  both  prose  and  verse.  The  length  and  width 
of  the  type  page  should  be  decided  and  a  dummy  of 
the  booklet  made.  In  the  printing  of  verse,  where 
the  measure  necessarily  varies,  each  poem  should  be 
centered  under  the  running  head,  the  top  margin  of 
each  page  remaining  always  the  same.  Two  pages 
should  be  locked  together;  for  example,  1  and  4,  2 
and  3. 

The  printing  of  a  school  paper  is  a  project  which 
more  than  any  other  makes  for  unity  in  the  school. 
It  reacts  upon  and  coordinates  the  entire  curriculum 
and  is  in  itself  a  problem  great  enough  to  engage  the 
energies   of   all    departments.     It   not   only   connects 


WHAT   TO   PRINT  173 

school  life  with  outside  life  in  a  way  that  children 
can  understand,  but  sets  up  standards  of  accomplish- 
ment which  must  be  met. 

The  pupils  should  provide  the  copy  and  make  their 
own  illustrations.  If  possible,  all  the  work  should  be 
their  own.  If  printing  classes  meet  often  enough, 
they  can  set  all  the  type.  In  schools  whose  printing 
classes  do  not  meet  daily,  part  of  the  work— setting 
straight  matter — can  be  done  outside,  and  the  pupils 
can  set  the  titles,  signatures,  and  running  heads,  make 
up  the  pages,  and  do  the  presswork,  folding,  assem- 
bling, and  sewing.  This  allows  time  for  other  work  and 
does  not  confine  the  class  to  one  kind  of  problem. 

The  following  list  is  made  from  the  printshop  file 
of  an  elementary  school  and  may  be  suggestive: 

I.  For  use  in  the  school: 
Admission  tickets 
Announcements  of  all  kinds 
Calendars 
Candy  recipes 
Club  constitutions 

Collections  of  original  poems  (booklets) 
Cooking  recipes  i 

Invitations 
Labels 

Library  cards 
Menus 

Mothers'  club  announcements,  etc. 
Outlines  of  work 
Phonic  lists 
Plays  (original) 
Poems  (for  literature  classes) 


174  APPENDIX 

Programs 

Reading  lessons  (for  grades) 

Report  blanks 

School  paper 

Shop  cards 

Words  to  songs  (for  music  classes) 

II.  For  use  in  the  home  or  the  community: 

Billheads 
Business  cards 
Church  services 
Illustrations  of  various  kinds 
Letterheads 
Shopping  cards 

Social-settlement  announcements 
Sunday-school  programs 

III.  For  personal  use: 
Birthday  cards 
Blotters 

Christmas  cards 
Easter  cards 

Favorite  poems  or  sentiments 
Letterheads 

One's  own  compositions 
Valentines 


SAMPLES  OF  WORK  DONE  175 

F.     SAMPLES   OF  WORK  ACTUALLY  DONE 
IN  SCHOOL  PRINTSHOPS 

On  the  following  pages  are  shown  samples  of  type 
matter  and  illustrations  designed  and  printed  by 
pupils  in  classes  of  printing — in  large  part  by  elemen- 
tary-school pupils  in  the  School  of  Education.  These 
samples  have  been  chosen  from  work  in  present  and 
past  years.  They  have  been  selected  from  various 
booklets,  collections  of  poems,  club  constitutions, 
plays,  and  the  School  Reporter. 

In  some  cases  the  pupils  wrote  the  articles  as  class 
work  assigned  by  the  English  teacher,  in  others  the 
writing  was  due  to  the  pupils'  own  initiative.  The 
type  was  set  up  and  printed  in  the  printing  classes. 

The  drawings  for  the  illustrations  likewise  were 
made  as  class  exercises,  some  in  the  art  class,  some  in 
the  printing  class,  and  others  are  the  work  of  individ- 
ual pupils.  The  greater  number  were  drawn  under  the 
direction  of  the  art  teachers.  All  the  drawings  here 
represented  were  reproduced  -  in  zinc  plates  by  the 
commercial  engraver.  The  grammar-grade  pupils  did 
the  printing,  but  the  drawings  represent  the  work  of 
all  grades. 

The  Elementary  School  magazine,  the  School  Reporter, 
from  which  so  many  of  the  illustrations  are  taken,  is 
the  work  of  the  pupils  from  the  first  to  the  seventh 
grade  inclusive.  It  has  been  entirely  self-supporting 
in  the  thirteen  years  of  its  existence,  carrying  always 
a  bank  balance  large  enough  to  provide  for  a  year's 
expense.  It  is  published  quarterly  at  a  subscription 
price  of  fifty  cents  a  year  (the  only  income) ,  and  aver- 
ages from  twenty  to  twenty-eight  pages  a  number. 


C-  DO 

(A  C 

•c  ^ 

o  2 

>>  => 


c 
-^    E 


c5 


o  -^^  = 


DOQ 


o 

'oo  c 
c    o 

••^        CO 


c    c 

.S    c 

o 
jr.    (0 


-o  o 

c  o 

__  o 

D-  ^ 

w  G 

j::  _^ 

1—  LU 


-o  ^    Z 


DO  "n 
£ 
o    fe 


DoCQ 

C/1 


-o 

c 

cd 

-C 

c 

ca 

■^ 

_c 

u 

P 

o 

M_ 

>N 

V- 

o 

_D 

u 

(VI 

C) 

LL 

^O 

«4- 

.,_, 

f) 

_c 

oo 

DO 

DO 

(U 

C 

_,_, 

c 

«J 

(U 

^ 

> 

-C 

(U 

c 

■•— * 

(U 

c 

c 

o 

c 

176 


c  .-y  _c 

< 

■CO? 

Uh 

O 

^  .y  ^^ 

^       ^    0 

w 

anc 
e  re 
atio] 
tice 

D 

-1 

< 

allegi 
to  th 
ne   n; 
id  jus 

CO 

^^    ^    ^ 

re 

bo  ^    '- 
0)      .^   ti 

^   03    i5  ,  0 

^.^  Q=^     CD  .1^ 

THE  SCHOOL 
REPORTER 


Cover   design  for   the    "School    Reporter,"    published   by  the 
University  Elementary  School  of  the  University  of  Chicago 

178 


THE  SCHOOL 
REPORTER 

OF  THE 

UNIVERSITY  ELEMENTARY  SCHOOL 


Volume  XIII  No.  2  1917-8 


DEDICATION 

To  the  former  students  of  the  Elementary  School, 
now  in  the  service  of  our  country,  who,  we  feel  are 
doing  much  for  us,  we  take  pride  in  dedicating  this 
Service  Number  of  the  School  Reporter. 

We  are  proud  of  this  Roll  of  Honor;  because  we 
think  perhaps  some  of  the  lessons  these  boys  learned 
in  our  school  are  helping  them  in  their  efforts  both 
here  and  "over  there."  Mingled  with  our  pride  is 
a  determination  to  make  ourselves  worth  the  sacrifice 
they  are  now  making  for  us. 

We  want  to  dosometiiing,  however  small,  to  help 
in  this  great  struggle.  This  is  the  spirit  in  which  we 
have  taken  up  this  Service  Work.  We  are  devoting 
this  number  to  a  description  of  what  we  have  done, 
not  because  the  total  is  great,  but  rather  because  it  is 
small;  for  being  small  it  may  encourage  others  to 
make  like  attempts. 

It  is  regretted  that  the  following  list  which  contains 
many  of  their  names  cannot  at  this  time  be  made 
complete.  The  Editor-in-Chief 


,1   page  from  the  "School  Reporter 

179 
13 


Constitution   and    By-Laws 

The  Girls'  Club 

of  tlie 
University  High  School 


The  School  of  Education  Print  Shop 
1917 


180 


ARTICLE  10.   Amendments 

Amendments  to  this  constitution  may  be  made  by 
handing  a  written  statement  of  the  proposed  amend- 
ment? signed  by  ten  members  of  the  executive 
board,  or  by  twenty-five  members  of  the  club  at 
large,  to  the  secretary  or  to  the  president.  Said  officer 
shall  accordingly  bring  the  matter  up  at  the  next 
board  meeting,  but  it  shall  not  be  voted  upon  until 
the  meeting  after  the  one  at  which  the  proposed 
amendment  is  read. 

BY  LAWS 

1:  The  Dean,  the  president,  the  secretary, 
parent  members  and  faculty  advisors  of  the  execu- 
tive board  shall  not  be  allowed  to  vote,  except  in 
the  case  of  a  tie,  when  the  president  shall  be 
allowed  to  cast  the  deciding  ballot.  Said  members 
of  the  executive  board  shall  not  make  or  second 
motions,  but  shall  be  wholly  limited  to  suggestions. 

2 :  These  by-laws  may  be  amended,  at  any 
time,  by  the  vote  of  the  majority  of  the  quorum  of 
the  executive  board. 

3:  The  executive  committee  shall  rtleet  not 
later  than  the  Thursday  before  any  regular  or  special 
meeting  of  the  executive  board^ — the  exact  time  of 
meeting  to  be  left  to  the  discretion  of  the  commit- 
tee—  for  purpose  of  discussion  of  all  business  to  be 
brought  up  at  the  next  executive  board  meeting. 


A  page  from  pamphlet  title  page  of  which  is  shown  on  opposite  page 

ISl 


Cftristmag  Cxercises!  of  t\\t 
®[niber£;itp  Clementarp  ^ci)ool 


jf rtbap,  Bccfmfacr  22  2:00  p.m. 
i«lanl>c[  5?aU 


182 


#ob  3Rest  |?ou  i^crrp.  ^cntlemtn 

JCbe  aiifiicnif  is  ii\bitcli  to  loin 
in  tt)t  singiiiB  of  ttjis  sona 

(Soil  rfst  pou  mcrrp,  gentlemen, 

ILct  notfiing  pou  bismap, 
JXcmcmber  Cljriat  our  ^abior 

WBai  born  on  £f)ristmas  Sap, 
2:0  sabe  us  all  from  Cbil'S  potoer 
©aijcn  toe  toere  gonf  astrap; 
0,  tibinga  of  comfort  anb  lop. 
Comfort  anb  jop, 
0,  tilJings;  of  comfort  anl)  jop. 

jfrom  (gob  our  Jl^eabcnlp  Jfatfjcr. 

a  blesseb  angel  came; 
3lnt)  unto  certain  ^Ijepfterbs 

iSrougbt  tibings  of  tijc  same: 
?^oto  tljat  in  JSetljletjem  toas  born 
^tje  son  of  (&ob  bp  name. 
0,  tiiings  of  comfort  ani)  jop. 
Comfort  anb  )op, 
0,  tibings  of  comfort  anb  jop. 


A  page  from  program  cover  of  which  is  shown  on  opposite  page 
183 


^-3^W 


THE  HONOR  OF  YOUR    PRES- 
ENCE  IS   REQUESTED   AT  THE 

FIFTH   COMPETITIVE 

GYMNASTIC    DRILL 

BETWEEN  THE  FRESHMAN 
AND   SOPHOMORE   GIRLS 


AT  THE 

UNIVERSITY  HIGH  SCHOOL  GYMNA- 
SIUM, FRIDAY,  MARCH  7,  1913,  8  P.M. 


184 


PROGRAM 

Freshman  Drill  and  Apparatus  Work 

Sophomore  Dancing 

Games 

a.  Dodge  Ball 

b.  Basket  Ball  Relay 

c.  Neucombe 

Sophomore  Drill  and  Apparatus  Work 

Freshman  Dancing 

Basket  Ball  Game,  Juniors  vs.  Seniors 

SCORE 


March  and  Run 

Possible  10  Points 
Floor  Work 
Possible  40  points 
Apparatus  Work 
Possible  20  Points 
Gymnastic   Dancing 
Possible  20  Points 
Games 
Possible  10  Points 

Total 


Freshman 

Sophomore 

A  page  from  program  cover  of  which  is  sho-wn  on  opposite  page 


186 


FANCIES  IN  VERSE 

W  RIITEN  AND  PRINTED 
BY  LOUISE  RED  FIELD 
SEVENTH  GRADE  U.  E.  S. 


THE  PRINT  SHOP 
THE   SCHOOL  OF  EDUCATION 


186 


THE  rlilp:rs  of  day 

AND  NIGHT 

The  sun  is  tlie  gt)lc!en  ruler 
Of  the  day  so  clear  and  bright. 

His  throne  is  the  bkie,  hhie  heaven, 
His  crown  is  of  dewdrops  light. 

His  servants  are  flashing  sunrays. 

His  cloud  steeds  ride  through  the  sky. 

But  at  evening  he  sinks  from  his  kingdom 
And  tlie  moon  mounts  up  on  high. 

Her  robe  is  of  starlight  splendor. 

Her  sceptre  a  comet's  tail. 
Her  servants  are  stars  bright  and  twinkling 

And  moonbeams  soft  and  pale. 

Her  coach  drawn  by  fiery  comets 
Is  a  shimmering  mass  of  light; 

There's  a  glorious  battle  of  rivalry 
'Twi.xt  the  rulers  of  day  and  night. 


A  page  from  booklet  title  page  of  which  is  shown  un  opposite  page 


187 


14  ORIGIN/IL  I'F.RSES 


THF.  WORLDS  KASl  KR  BONNET 

The  lo\ely  world  has  a  new  Kaster  honiiet. 
With  daffodils,  tulips  and  iTociises  on  it; 
The  streanis  are  hlue  ribhons  to  twine  it  aroiind, 
And  its  straw  is  tiie  beautiful  jjrassy  j^round. 
The  trees  are  its  plumes,  so  feathery  and  tall, 
And  the  clouds  make  a  veil  to  spread  over  it  all. 

Marv  Warren 


EASTER  LILIES 

See  the  Easter  lilies! 
O.  how  fair  they  grow. 
Swinging  in  the  breezes 
Dancing  to  and  fro. 
Tall  and  white  and  slender 
The  lilies  stand! 

VVlNSLOW    Leavitt 


A  page  from  booklet  tille  page  of  which  is  shown  on  opposite  page 


188 


ORIGINAL  VERSES 

BY  THE  THIRD  AND 

FOURTH   GRADES 

OF  THE   UNIVERSITY 

ELEMENTARY  SCHOOL 


i0&iii 


THE  PRINT  SHOP 

THE  SCHOOL  OF  EDUCATION 

1913 


189 


The  Trolls'  Christmas 

Dramatized  and  played  by  the  Third 
Grade  in  1909.  Printed  by  the  same 
children  in  the  Seventh  Grade  in  1913 


THE  PRINT  SHOP 

THE  SCHOOL  OF  EDUCATION 

1913 


190 


SCENE  II 

In  a  forest.     Darkness  all  iinund.     Snow  on  the 

ground  and  trees. 

Action:    St.    Nicholas  enters  with  two  children. 

St.  Nicholas 
Here  you  are.       I  must  go,  for   I    liave  other 
business  to  do. 

Action :  St.  Nicholas  leaves  them.    Lottie  is  cry- 
ing. 

AXFL 

Don't  cry,  Lottie. 

LoTTrr 
Axel,  \s  here  are  we?       Wolves  are  heard  howl- 
ing.    What  is  that  sound.' 

Axel 
Oh,  it's  the  wolves  howling! 

LorriE 
I  am  so  frightened.     What  shall  we  do? 

Axel 
Let  us  see  if  we  can  find  a  house. 

LoiTlE 

Oh,  I  am  so  tired. 

Axel 
Look,  Lottie,  I  think  I  see  a  ca\e  over  there 
in  the  rocks.      Come,  let  us  go  and  see.       It 


A  page  from  booklet  title  page  of  which  is  shown  on  opposite  page 


191 


FAIRY     LYRICS 

SELECTKD  AND  ILLUSTRATED 

BV 

THE  THIRD  GRADE 


PRINTED  AND  BOUND  BY   I'HK  EIGHTH  GRADE 

OF 

THE  ELEMENTARY  SCHOOL 

OK 

THE  UNIVERSITY  OF  CHICAGO 
MDCCCCIX 


192 


193 


THE  DRAWING 
OFTHESWORD 


A  COMMUNITY  BALLAD  WRITTEN  BY 
THE  SEVENTH  AND  EIGHTH  GRADES 
THE  UNIVERSITY  ELEMENTARY  SCHOOL 


Type  used:   24-point  and  12-point  Tabard 


194 


Frontispiece  from  booklet  title  page  of  which  is  shown  on 
opposite  page  {both  were  colored  by  hand) 


195 


14 


196 


Illustrations  for  Puritan  poems 


197 


Illustrations  for  Puritan  poems 


198 


Postal  card  {colored) 


Unit  for  cover  page 


199 


Units  Jor  cover  pages  of  the  "School  Reporter" 


200 


Units  for  cover  pages  of  the  "School  Reporter' 


201 


Units  j or  cover  pages  of  the  "School  Reporter' 


202 


Cover  design  for  "  J'cncies  in  Verse" 
{printed  in  blue  ink  on  gray  Japanese  paper) 


Cover  design  for  the  ' '  School  Reporter ' 


203 


Unit  for  cover  page  of  March  "School  Reporter' 


Unit  for  cover  page  of  Girls'  Club  Constitution 
204 


mm. 


"W^ 


:'.    W 


^1 

i 


■'■:$^.- 


li 


205 


o 


♦ 


'<0' 


♦ 


o 


€> 


\o= 


3 


206 


D 


Initial  letters  and  tail-pieces  used  in  a  booklet  on  "Our  Creek 
Gods  and  Heroes" 


207 


Cover-page  unit 


Tail-piece 


Tail-piece 


University  Elementary  School 
monograms 


Boys'   Club  monogram, 

University  High 

School 


Tail-pieces — University  Elementary  School 
208 


CRftoe.  4 


Tail-pieces 


209 


CtT  IT 


Head-  and  tail- pieces 


210 


Cover  design  jor  Christmas  poem 


Cover  design  Jor  Christmas  verses 


Cover  design  for  "The  Trolls'  Christmas' 


211 


i    >              i 

5          ft-.                                    i 

J    #•■>'                                 I 

V:ir;-''.'.rf>                   '1 

eV/iV^'-N.          : 

di}-;:-:^;;^..       i 

.---.) 

-.vuV;.-.-,.^,..  tf'-, 

.' 

??•%^:^\^.^■•^. 

■\. 

z. 

:         ..,:.-/-'-.v>::='-^ 

?*V; 

'rS^'  I 

«     •%'I'."*-:'.'.'—'^'-^V-;v'-''" 

i.C'^- 

?^^•^Aj^/^f::^i^i^: 

'•■ 

Tail-piece 


Tail-piece 


Tail-piece  ami  cover  desioii  for 

"The  Drcni'i)!'^  of  the  .Stvord" 

{colored  by  hand) 


Tail-piece 


212 


GLOSSARY 

Alignment. — Arrangement  in  a  line.  When  two  or 
more  different  sizes  of  type  are  justified  so  that  their 
faces  line  at  the  bottom,  they  are  said  to  align. 

Antique  finish. — A  rough  surface  on  paper. 

Arabic  numbers. — The  ten  figures  1,  2,  3,  4,  5,  6,  7, 
8,  9,  0.  They  are  supposed  to  have  originated  in 
Arabia. 

Ascending  letters. — b,  d,f,  h,  I,  t,  those  that  ascend 
to  the  upper  shoulder  of  the  type  body. 

Backing. — Printing  the  second  page  of  a  leaf. 

Bale. — ^An  iron  band  on  the  tympan  used  to  hold 
down  the  tympan  sheets. 

Beard. — The  slope  between  the  face  and  the  upper 
surface  of  the  body.     See  Fig.  1,  p.  3. 

Bearers. — Strips  of  metal,  type-high,  placed  at  the 
ends  of  the  chase  to  bear  off  impressions  evenly  and  to 
carry  rollers  evenly  over  the  form. 

Black-letter. — See  Text. 

Body. — That  part  of  the  type  between  the  face  and 
the  feet.     See  Fig.  1,  p.  3. 

Body-mark. — See  Stem. 

Bold. — Anything  that  stands  out  heavily.  Black- 
face or  heavy-face  type  is  called  bold. 


214  GLOSSARY 

Brayer. — A  small  hand  roller  used  to  distribute  ink ; 
it  is  used  to  ink  the  type  in  taking  hand  proofs. 

Break-line. — The  last  line  of  a  paragraph  when  it 
contains  a  blank  space. 

Calendered. — A  tcmi  applied  to  paper  that  has  been 
smoothed  by  the  calender  stacks  and  thus  given  a 
polished  surface. 

Cap. — The  abbreviation  for  a  capital  letter. 

Case. — A  receptacle  for  type  divided  into  compart- 
ments or  boxes  so  that  there  is  a  box  for  each  character 
in  a  font  of  type. 

Case  stand. — A  light  wooden  frame  made  to  support 
the  news  case. 

Chase.^The  iron  frame  in  which  the  type  is  locked. 

Clean  proof  .—A  proof  that  is  practically  free  from 
errors. 

Coated  paper. — A  highly  enameled  paper,  which 
comes  in  a  glossy  or  dull  finish. 

Composing  room. — A  room  where  type  is  set  up  or 
composed  and  made  up  into  forms  for  printing. 

Composing  rule. — A  metal  strip  used  in  composing. 

Composing  stick. — A  shallow  metal  tray  which  the 
compositor  holds  in  his  left  hand  when  setting  type. 

Composition.^The  branch  of  printing  which  con- 
sists of  setting  up  type,  correcting  it,  and  making  up 
ready  for  the  press.     See  chap.  iv. 

Compositor. — A  typesetter. 

Condensed. — Said  of  type  that  is  narrow  in  pro- 
portion to  its  height. 

Copy.— The  written  words  or  drawings  from  which 
the  printer  works. 


GLOSSARY  215 

Correcting. — Alterations  made  in  type. 

Counter. — The  depression  between  the  hnes  of  a 
face.     See  Fig.  1,  p.  3. 

Cut. — A  name  used  by  printers  to  designate  a 
blocked  engraving. 

Cut-in. — A  note  set  into  the  side  of  a  reading  margin. 

Cylinder  press. — A  printing  press  consisting  of  a 
flat  bed,  a  cylinder,  and  an  automatic  inking  device. 
The  type  form  is  locked  on  the  bed,  which  moves 
back  and  forth  beneath  the  rotating  cylinder,  the 
sheet  being  held  on  the  cylinder  while  the  impression 
is  being  taken. 

Dead. — Type  matter  that  has  been  printed.  When 
the  form  has  been  used,  it  is  killed — therefore  dead, 
and  ready  for  distribution. 

Delete. — Take  out. 

Descending  letters. — Letters  that  have  down  strokes; 
g  and  y  are  descending  letters. 

Dirty  proof. — One  that  has  many  errors. 

Disk. — The  round  ink  plate  on  the  platen  press. 

Distribution. — Returning  type  to  the  proper  cases; 
used  also  of  spreading  ink  evenly  over  the  rollers. 

Doublet. — A  word  or  words  repeated. 

Dummy. — Pages  put  together  to  show  plan  of  a 
proposed  book  or  booklet. 

Em. — The  square  of  any  type  body  as  unit  of 
measurement. 

En. — One-half  of  an  em. 

Expanded. — Said  of  type  that  is  wide  in  proportion 
to  its  height. 

Face. — That   part   of    the    type   which   appears   in 


216  GLOSSARY 

relief  on  the  end  of  the  type  and  which  when  inked 
leaves  the  impression  on  the  printed  surface. 

Feeder. — The  one  who  feeds  the  paper  to  the  print- 
ing press. 

Feed  gauges  or  guides. — The  pins  or  quads  fastened 
to  the  tympan  which  guide  the  feeder  in  placing  the 
paper. 

Feet. — The  end  of  the  metal  opposite  the  face  is 
usually  grooved  by  the  machine  in  casting.  This 
makes  two  projections  called  the  feet.  The  term  is 
applied  to  the  end  opposite  the  face  even  when  the 
groove  is  omitted. 

Folio. — A  sheet  of  paper  folded  in  two  leaves. 

Font. — An  assortment  of  one  size  and  face  of  type. 

Form. — A  page  or  a  number  of  pages  locked  in  the 
chase  ready  for  the  press. 

Foul  case.- — One  in  which  the  type  is  mixed. 

Furniture. — Pieces  of  wood  or  metal  fitted  around 
the  type  form  to  fill  in  the  blanlc  space  in  a  chase. 

Galley. — A  shallow  metal  or  wooden  tray  with 
three  perpendicular  sides  made  to  hold  the  type  when 
it  is  taken  from  the  composing  stick. 

Galley  rack. — A  case  with  open  compartments  made 
to  hold  galleys. 

Gothic. — The  name  given  to  a  type  face  which  is 
usually  square  in  outline  and  devoid  of  serifs.  This 
is  a  gothic  letter:  T. 

Guide  pins. — See  Feed  gauges. 

Grippers. — On  a  job  press  the  iron  bars  which  take 
the  sheet  off  the  form  after  the  impression  has  been 
made. 


GLOSSARY  217 

Hair  line.— The  fine  line  connecting  the  stem  or 
body-marks.     See  Fig.  1,  p.  3. 

Halftone. — A  photo-engraved  plate  consisting  of 
dots  of  varying  sizes  uniformly  placed,  capable  of 
rendering  not  only  high  lights  and  shadows  of  a  picture, 
but  all  the  intermediate  or  half  tones. 

High-to-paper. — Said  of  type  cast  higher  than  the 
standard  height,  0.918  inch. 

Imposing  stone. — The  stone  or  iron  table  upon 
which  a  form  is  locked  ready  for  press. 

Imposition. — Arranging  the  pages  or  jobs  in  the 
chase.     See  chap.  vii. 

Imprint. — The  name  or  mark  which  the  printer  or 
publisher  affixes  to  his  work. 

Indention. — A  form  of  spacing  used  principally  to 
mark  the  beginning  of  paragraphs. 

Initials. — Large  letters  used  at  the  beginning  of  chap- 
ters or  of  main  sections  of  books  or  jobs  of  any  kind. 

Ink. — A  combination  of  pigment,  varnish,  drier, 
and  other  materials. 

Italic. — A  sloping  type  face. 

Job  pre ss.^ Any  printing  press  used  for  printing 
jobs,  not  books,  etc. 

Justification. — The  spacing  out  of  lines  to  proper 
tightness. 

Kern. — That  part  of  the  letter  which  sometimes 
projects  over  the  side  of  the  body,  as  in  /  or  /. 

Kill. — To  eliminate  copy  or  composed  type. 

Layout.— A  working  diagram  of  a  job,  showing 
general  grouping  of  the  job  and  specifying  kinds  and 
sizes  of  type  to  be  used. 


218  GLOSSARY 

Leads. — Strips  of  metal  used  between  lines  of  type. 

Leaded  matter. — Type  which  has  leads  between  the 
lines. 

Ligatures. — Two  or  more  letters  tied  together  and 
cast  on  one  body — ffi,  fi,  ffl,  ff,  ft,  etc. 

Line  cuts  or  line  engravings. — ^A  photo-engraving  in 
which  the  various  parts  are  represented  in  lines,  and 
not  broken  up  into  half  tones  as  in  a  halftone. 

Live  matter. — Composed  matter  not  printed. 

Locking  up. — Tightening  the  quoins  in  the  chase 
so  as  to  hold  the  mass  of  type  in  place.     See  chap.  vi. 

Logotjrpes. — Two  or  more  words  cast  on  one  body; 
for  example,  bought  of,  rcc'd  of,  etc. 

Lower  case.^ — The  name  applied  to  the  small  letters. 
Also  the  lower  of  a  pair  of  type  cases. 

Low-to-paper. — Said  of  type  that  is  cast  lower  than 
the  standard  height,  0.918  inch. 

Making  ready. — Preparing  the  form  on  the  press 
for  printing — underlaying,  overlaying,  setting  guides, 
etc. 

Making  up. — Arranging  type  into  pages,  with  run- 
ning heads,  etc. 

Mallet. — A  wooden  head  with  a  handle. 

Margin. — The  space  around  the  printed  matter  on 
a  page. 

Matter. — Composed  type. 

Measure. — The  width  the  composing  stick  is  set. 

Mortise. — To  cut  out  part  of  the  type  for  the 
purpose  of  inserting  a  letter. 

Neck. — See  Beard. 

News  case. — See  Case. 


GLOSSARY  219 

Nick. — A  shallow  groove  on  the  front  of  the  body- 
near  the  feet,  for  the  purpose  of  guiding  the  com- 
positor.    Type  is  set  with  the  nicks  up. 

Off  its  feet. — Said  of  type  that  does  not  stand 
squarely  on  its  feet. 

Offset. — The  rubbing  or  smutting  of  a  freshly 
printed  sheet. 

Offset  process. — A  method  of  printing  by  which 
the  ink  is  offset  on  a  rubber  blanket  instead  of  directly 
upon  the  paper. 

Out. — One  or  more  words  omitted  by  mistake  in 
composition. 

Overlay. — Paper  put  on  the  tympan  to  give  more 
impression  to  part  of  the  form. 

Overrun. — To  change  the  position  of  composed 
type  by  moving  backward  or  forward  when  correcting. 

Page  cord. — String  used  in  tying  up  pages. 

Pi. — Mixed  type. 

Pica. — 12-point  size  of  type.  The  pica  em  is  used 
as  the  standard  of  measurement. 

Pin-mark. — A  small  circle  indented  in  the  side  of 
the  body  near  the  face  to  designate  the  foundry  at 
which  the  type  is  cast.     See  Fig.  1,  p.  3. 

Planer. — A  smooth  wooden  block  used  to  level  the 
type  in  the  form. 

Platen. — That  part  of  a  job  printing  press  on  which 
the  make-ready,  tympan,  and  guides  are  placed  and 
on  which  the  sheet  takes  the  impression  from  the  type. 

Platen  press. — One  that  gives  the  impression  from 
a  flat  surface. 

Point. — The  unit   of  the  American  point  system. 


220  GLOSSARY 

It  is  one-twelfth  of  the  pica — 0.013837  inch,  to  be 
exact — or,  for  practical  purposes,  one  seventy-second 
of  an  inch. 

Point  system. — The  system  of  casting  type  bodies 
in  some  multiple  of  a  unit  called  a  point. 

Printing  press. — Any  of  numerous  machines  for 
making  printed  impressions  on  paper,  board,  tin,  etc., 
from  an  inked  surface. 

Proof. — A  printed  impression  taken  for  the  purpose 
of  making  corrections. 

Proof -planer. — A  smooth  wooden  block  covered  with 
felt.     It  is  used  in  taking  proofs. 

Proof-press. — A  press  used  exclusively  for  taking 
proofs. 

Quadrats  or  quads. — Metal  blanks  used  to  fill  out 
spaces. 

Quoins. — Wedges  used  in  pairs  to  lock  up  forms. 

Quoin  key. — A  metal  device  for  tightening  quoins. 

Reglet. — Thin  strips  of  wood,  6  points  and  12  pointi, 
in  thickness,  used  in  locking  up  forms. 

Revise. — A  second  proof,  taken  after  the  corrections 
marked  on  the  first  proof  have  been  made. 

Roller. — An  iron  rod  covered  with  composition,  used 
to  distribute  ink  on  the  type. 

Running  head. — The  title  of  a  book,  chapter,  or 
subject  placed  at  the  top  of  each  page. 

Score. — To  crease  heavy  paper  on  the  press  so  that 
it  will  fold  easily. 

Serif. — The  fine,  cross  line  put  in  as  a  finish  to 
unconnected  lines  in  a  letter.     See  Fig.  1,  p.  3. 

Shank.— 5^^  Body. 


GLOSSARY  221 

Shoulder. — The  margin  between  the  bottom  of  a 
letter  and  the  outer  edge  of  the  ,body.  See  Fig.  1, 
p.  3. 

Single-leaded. — Type  having  one  lead  between  the 
lines  is  said  to  be  single-leaded. 

Sizing. — A  gelatinous  material  used  in  paper  making. 

Slug. — A  lead  6  points  or  more  in  thickness. 

Small  caps. — Capital  letters  of  a  smaller  size  than 
the  regular  capitals  of  a  font.  They  are  usually  about 
the  same  height  of  face  as  the  lower-case  m. 

Solid. — Type  without  leads  between  the  lines  is 
said  to  be  solid. 

Sorts. — The  letters  in  the  boxes  of  a  case. 

Spaces. — Pieces  of  metal  about  four-fifths  of  the 
height  of  type  and  of  varying  thickness.    See  chap.  iii. 

Stem. — The  thick  line  of  the  face  of  the  letter.  It 
is  sometimes  called  the  body-mark  or  the  thick-stroke. 
See  Fig.  1,  p.  3. 

Stick. — See  Composing  stick. 

Stoneman. — The  man  who  imposes  and  locks  up 
the  forms. 

Tail  margin. — The  margin  at  the  bottom  of  the  page. 

Take. — The  part  of  copy  taken  at  one  time  by  a 
compositor. 

Thick-stroke. — See  Stem. 

Turn  for  sorts. — To  place  a  piece  of  type  face  down 
in  place  of  a  letter  that  is  missing. 

Tympan. — The  covering  of  the  platen  or  cylinder 
for  printing. 

Type  gauge. — A  w^ood  or  metal  ruler  graduated  in 
picas  or  in  type  sizes,  used  for  measuring  the  width  of 
page  or  the  number  of  lines  in  a  piece  of  matter. 


222  GLOSSARY 

Type-high. — The  standard  height  of  type,  0.918 
inch. 

Underlay. — A  piece  of  paper  or  card  placed  under 
the  type  or  cut  to  increase  the  impression. 

Wide-leaded. — Type  having  more  than  one  lead 
between  the  lines  is  said  to  be  wide-leaded. 

Work-and-turn. — The  method  of  printing  a  full  form 
on  one  side  of  a  sheet  and  then  turning  it  over  and 
printing  the  same  form  on  the  other  side. 

Wrong  font. — Letters  of  one  series  mixed  with 
another. 


THE  INDEX 

[Page  numbers  referring  to  illustrations  are  designated  by  the  abbreviation 
•••  ..  ■  —1-     -  ■      T> ,_  ^„c„;*,,„is,  see  Glossary,  pages  Jld-^/^.) 


"ill."  in  parentheses.      For  definitions 

Aldine  Press,  97  (ill.),  lOG 
Aldus,  106 

American  point  system,  5 
Apostrophe,  use  of,  82 
Appendix   for   teachers,    133- 

212 
Art    as   related   to    course   in 

printing,  135 
Art  in  printing,  92-107 

essentials  of,  93 

how  to  attain,  94 

Beard,  2 
Black  letter,  10 
Body,  1 
Body-mark,  2 
Borders,  102 

Morris,  105  (ill.) 

Ratdolt,  103  (ill.) 

use  of,  104 
Brackets,  use  of,  83 

Cabinets,  145 

closed,  14 
Calendering,  118 
California  job   case,    16    (ill.j, 

17 
Capital  letters,   rules  for  use 

of,  87 
Capitals    and    small  capitals, 

rules  for  use  of,  90 
Caps,  12 

Carbon,  how  to  make.  111 
Cardboard,  120 
Case: 

arrangement  of,  12 

California,  16  (ill),  17 

learning  the,  12-21 

Yankee,  17,  18  (ill.) 
Case  stand,  12 
Chase,  45,  48  (ill.) 
Cobden-Sanderson,   32,    10 1 
Colon,  use  of,  78 
Comma,  use  of,  75 


Composing  room: 
rules  for,  127 
arrangement   of,    153-154 

Composing  rule,  34   (and  ill.) 

Composing  stick,  33  (and  ill.), 
145 
method  of  holding,  19  (ill.), 

21 
method    of    removing    type 
from,  36  (ill.),  37 

Composition,  33 

directions  for,  33-41 

Compositor's  stands,  145,  147 
(ill.) 

"Condensed"  type,  5 

Construction  work  in  course 
in  printing,  137 

Correcting  a  line,  41 

Corrections,  making,  44 

Counter,  2 

Course  in  printing,  in  Ele- 
mentary and  High  Schools 
of  the  School  of  Education 
of  the  University  of  Chicago, 
155-167 

Cut,  resistance  of  a,  61 

Dash,  use  of,  81 
Decoration,  100 
Distribution  of  type,  66  (ill.), 

67-69,  68  (ill.) 
Division  of  words,  rules  for,  83 
Doves  Press,  31  (ill.),  32,  106, 

107 

Em  quad,  22 

Ems,  ■  to  find  the  number  in 
composed  type,  70 

Enghsh,  73-91,  125 

as  related  to  course  in  print- 
ing, 136 

En  quad,  22,  24 

Equipment  for  school  print- 
shop,  139-152 


224 


THE  INDEX 


Equipment   for   school    print- 
shop   (contimied) : 
cost  of,  150 
list  of,  142,  151,  152 

Exclamation  point,  use  of,  74 

"Expanded"  type,  5 

Face,  1 

Feeding  the  press,  63  (ill.),  04 

directions  for,  64 
Feet,  1 

Five-to-em  space,  23,  24 
Folio: 

half -sheet  imposition  for,  53 

sheetwise  imposition  for,  52 
Font,  7 

Four-to-em  space,  23,  24 
Furniture,      arrangement      in 

chase,  47,  48  (ill.),  49 

Galley,  37  (and  ill.) 
Glossary,  213-222 
Gothic,  10 
Guide  lines,  drawing  of,  62 

Hair  line,  2 
Hair  space,  23 

Head-pieces,  use  of,  102,  IOC) 
Hyphen,  use  of,  81 

Illustrations,    how    to    make, 

108-116 
Imposing  stone,  45,   145,   146 

(ill.).  . 
Imposition,  51-57 

for  ciuarto,  53,  54  (and  ill.) 

half-sheet  for  folio,  53  (and 
ill.) 

half-sheet     for     quarto,     54 
(and  ill.) 

sheetwise  for  folio,  52  (and 
ill.) 

sheetwise  for  quarto,  54  (ill.) 
Indention,  30 

hanging,  32 

inverted  pyramid,  32 

paragraph,  31 

squared,  32 
Initial  letters,  use  of,  102,  170 
Ink,  99 
Interrogation  jjoint,  use  of,  74 


Italics,  rules  for  use  of,  90 
Italic  type,  10 

Jenson,  Nicolas,  98  (ill.),   106 
Justification,  35 

Kelmscott  Press,  107 
Kern,  2 

Layout,  94,  168,  170  (ill.) 
Leading,  rules  for,  30 
Leads,  25  (and  ill.),  29_ 

sizes  used  between  lines,  20 
Library,     suggestions     for     a 

printshop,  152 
Ligatures,  7 

Linoleum  cuts,  112,  113  (ill.) 
Locking  up,  45-50 

arrangement     of     furniture 
for,  57 

method  of,  46  (ill),  48  (ill.) 
Lower   case,   arrangement   of, 

13,  14,  15  (ill.) 

Making  ready,  60 
Mallet,  40  (and  ill.) 
Manufacture     as     related     to 

course  in  printing,  134 
Manuscript,  to  find  the  num- 
ber  of   pages   of   composed 

type  in,  71 
Margins,  size  of,  97 

Aldine,  97  (ill.) 

for  a  card,  95  (ill.),  101  (ill.) 

Jenson,  98  (ill.) 
Mathematics     as  _  related     to 

course  in  printing,   137 
Measuring,  70-72 
Morris,  William,  30,  32,   105 

(ill.),  106,   107 

Neck,  2 

News  case.     See  Case 

Nicks,  purpose  of,  1 

Overlay,  61 

Pages: 

to  find   number   of   i)Ounds 

of  type  re(]uired  for,  72 
to  find  the  number  a  manu- 
script will  make,  71 


THE  IXDEX 


225 


Paginal  beauty,  elements  of,  99 
Pannartz,  8 
Paper,  117-124 

antique,  117 

bond, 120 

book, 117 

coated,  119 

cover,  119 

cutting  stock,  122  (and  ill.), 
123  (and  ill.),  124  (and  ill.) 

enameled,  119 

laid,  121 

machine-finish,  118 

selection  of,  99 

sizes   and   weights   of   Ijook 
paper,  122 

sizing  for  finishing,  121 

wove,  121 

writing,  119 
Paper  cutter,  149  (and  ill.) 
Paragraph  sign,  32 
Parenthesis,  use  of  marks  of,  81 
Period,  use  of,  73 
Petrarch,  107 
Pica,  length  of,  5 
Pin-mark,  2 

Planer,  how  to  use,  40,  49 
Platen,  59 
Point,  5 

measure  of,  6 

size  of,  6  (ill.) 
Point  system,  American,  5 
Press,  58  (ill.),  59-65,  143 

applying  ink  to,  59 

care  of,  59 

cleaning,  64 

feeding  the,  63  (ill.),  64 

rules  for,  129 
Printers,  suggestions  to  young, 

125-130 
Printing: 

art  in,  92-107 

as  construction  work,  137 

as  related  to  other  courses 

in  the  curriculum,  134 

•    course    in    the    Elementar}^ 

and  High  Schools  of  the 

School  of  Education  of  the 


University     of     Chicago, 
155-167 
value  of,  as  an  educational 
subject,  133-138 
Printing   rooms,    arrangement 

of,  1.53-154 
Proof -planer,  40  (and  ill.),  49 
Proof-press,    150    (ill.j 
Proofreading,  43-44 
Proofreader's  marks,   42   (ill.) 
Proofs,  how  to  take,  40 
Punctuation,  rules  for,  73-83, 
126 

Quads,  22  (and  ill.),  23  (ill.) 

Quarto: 

half-sheet  imposition  for,  54 
sheetwise  imposition  for,  54 

Quoin,  47  (ill.) 

how  to  place,  47,  49 

Quoin  key,  47  (ill.) 

Quotation  marks,  use  of,  78 

Ratdolt,  Erhard,  103  (ill).,  106 
Reglets,  how  to  place,  47,  49 
Revise,  44 
Rollers,  care  of,  59 

summer,  65 
Roman  type,  8 
Rules: 

for  capital  letters,  87 

for  capitals  and  small  capi- 
tals, 90 

for  the  composing  room,  127 

for  composition,  33 

for  distribution,  67 

for  division  of  words,  S3 

for  English,  73,  125 

for  imposition,  51 

for  italics,  90 

for  learning  the  case,  19 

for  locking  up,  45 

for  measuring,  70 

for  the  press,  129 

for  punctuation,  73,  12G 

for  spacing,  26 

for  spelling,  85 

for  young  printers,  125 
Rules,  how  to  print,  172 


226 


THE  INDEX 


Safety  devices,  152 

School  paper,  printing  of,  172 

School  printshop: 

character    of    work    to    be 
done  in,  140,  173 

equipment  for,  139-152 

samples   of   work    done   in, 
175-212 

type  for,  144 

what  to  print  in,  168-174 
Semicolon,  use  of,  77  . 
Serif,  2 

Setting  type,  method  of,  21,  33 
Shank,  1 
Shoulder,  2 
Single-leaded  type,  29 
Sixteen-page     form,     arrange- 
ment of  pages  in,  56  (ill.) 
Slugs,  25  (in.),  26 
Small  caps,  12 
Social    service    as    related    to 

course  in  printing,   137 
Solid  type,  29 
Spaces,  22  (and ill.), 23  (and  ill.) 

distribution  of,  68 
Spacing,  22-32 

rules  for,  26 
Spelling,  rules  for,  85 
Stands,  145,  147  (ill.) 
Staple  binder,  148  (ill.) 
Stem,  2 
vStick,  33  (and  ill.),  145 

method  of  holding,  19  (ill.), 
21 

method    of    removing    type 
from,  36  (ill.),  37 
Suggestions  to  young  printers, 

125-130 
Summer  rollers,  65 
Swcynheim,  8 

Tail-pieces,  use  of,  102,  106 
Text,  10  ' 

Thick  space,  23 
Thick-stroke,  2 
Thin  space,  23  / 

Three-em  c}uad,  22 
Three-to-em  space,  23,  24 


Trimming,  allowance  for  waste 

in,  57 
Two-em  quad,  22 
Tying  up  type,  method  of,  38 

(ill.),  39 
Tympan,  59 
Type: 

depth  of,  4,  6 

description  of,  1-11 

distribution  of,  66  (ill.),  67- 
69,  68  (ill.) 

for  school  printshop,   144 

height  of,  4 

names  of,  6 

parts  of,  3  (ill.) 

samples  of,  9 

sizes  of,  6 

to  find  the  number  of  ems 
in,  70 

to  find  number   of   pounds 
required  for  a  page,  72 

width  of,  4 

wood,  6 
Type  faces,  8 

considerations   in    selecting, 
10 

for  school  printshop,  144 
Typography,  essentials  of,  93 

Underlaying,  61 

Uniformity,  essential  to  good 

appearance  of  page,  28 
Upper  case,   arrangement   of, 

20  (ill.),  21 

Waste,  allowance  for,  in  trim- 
ming, 57 
Wide-leaded  type,  29 
Woodcut,   108,    109   (ill.),   110 

(ill.) 

how  to  print,    112 
-      woods  used  for,  108 
Wood  type,  6 
Words,  number  to  square  inch 

of  type,  72 

Yankee  job  case,  17,  18  (ill.) 

Zinc  etching,  method  of  mak- 
ing, 112,  141  (ill.),  116  (ill.) 


,^WEUNIVER%, 


ANCElfx> 


^.OFCAIIFO%, 


^ 


UNIVERSITY  OF  CALIFORNIA  LIBRARY 

Los  Angeles 

This  book  is  DUE  on  the  last  date  stamped  below. 


*MQY  0  71991 


SEP 


^TilJDNVSOl^ 


xvMllBRARY(?/^ 


:^ 


L  005 

UC  SOUTHERN  REGIONAL  V,^f^?,lf,^£',\|,V|ii 


)5  837  348  1  f=V 

T  •/-    ,^V^  T-V,^ 


^.OF-CAIIFO% 


'^«i/0JIW3J0'^  <rii30KVS01^ 


932    2 

%a3AiNn-3\ 


i<.OFCAIIFO% 


^lOSANCEl^ 


^<?Aav88ni^      ^^Aaviieni"^       <rii]ONvsoi^     '^^mmm 


.\WEUNIVERVa 


_   o 
^-r?133NVS01^ 


v^lOSANCElfx> 


0  U— . 


^>^IIIBRARY<?A, 


so 


C_3 


on 


^VWSANCEI% 


<ril33NVS01^ 


^OFCAUFOft^ 


'^     ^ 


'^6'Aaviiaii# 


^UIBRARYQ^^       -0\lLIBRARYQ<- 


^^V\E•UNIVERJ/A 


^lOSANCEi; 

3 


